Report on Institutional Impact and
Market Research
Submitted: August 08, 2014
Submitted to:
OCAD University
Submitted by:
Higher Education Strategy Associates
Contact: Alex Usher, President
639 Queen Street West, Suite 402
Toronto, Ontario M5V 2B7
(416) 848-0215, extension ‘0’
Fax: (416) 849-0500
Email: ausher@higheredstrategy.com
Report on Institutional Impact and Market Research
TABLE OF CONTENTS
1. PROJECT INTRODUCTION ....................................................................................... 1
2. PRIMARY MARKET RESEARCH – SKILLS GAP ANALYSIS.................................................. 3
Introduction ..................................................................................................................... 3
Methodology ................................................................................................................... 4
The Hiring Process.......................................................................................................... 10
OCAD University and the Workplace .............................................................................. 14
Skills and the Skills Gap .................................................................................................. 19
Conclusions and Recommendations ................................................................................ 22
3. CULTURAL IMPACT ANALYSIS ............................................................................... 24
Introduction ................................................................................................................... 24
Methodology ................................................................................................................. 25
Literature Scan............................................................................................................... 27
OCAD University and the Arts Scene ............................................................................... 29
Cultural Space ................................................................................................................ 34
Conclusions and Recommendations ................................................................................ 37
4. ECONOMIC IMPACT ANALYSIS .............................................................................. 39
Introduction ................................................................................................................... 39
Methodology ................................................................................................................. 40
Institutional Expenditure ................................................................................................ 41
Student Expenditures ..................................................................................................... 42
Impact of Graduates Earning Premiums ......................................................................... 44
Total Economic Impact ................................................................................................... 46
5. DIGITAL FUTURES – TARGET MARKET PROBE ........................................................... 48
Introduction ................................................................................................................... 48
Methodology ................................................................................................................. 48
Respondent Characteristics ............................................................................................ 49
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The Decision-Making Process ......................................................................................... 49
Perceptions of OCAD University ...................................................................................... 51
“Creative Digital Industries” ........................................................................................... 53
Digital Futures ............................................................................................................... 53
Conclusions and Recommendations ................................................................................ 55
APPENDIX A: OCAD UNIVERSITY ALUMNI INTERVIEW INSTRUMENT .................. 58
Key Informant Interview Instrument............................................................................... 58
APPENDIX B: EMPLOYER INTERVIEW INSTRUMENT – SHORT-FORM SURVEY ..... 65
Key Informant Interview Instrument............................................................................... 65
APPENDIX C: EMPLOYER INTERVIEW INSTRUMENT – LONG-FORM SURVEY ....... 69
Key Informant Interview Instrument............................................................................... 69
APPENDIX D: LIST OF BUSINESS FOR EMPLOYER INTERVIEWS ............................ 85
APPENDIX E: GEOGRAPHIC AREA COVERED BY ‘M’ AND ‘L’ AREA CODES ............ 99
APPENDIX F: DIGITAL FUTURES – TARGET MARKET PROBE INTERVIEW
INSTRUMENT .................................................................................................. 100
Key Informant Interview Instrument............................................................................. 100
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1. PROJECT INTRODUCTION
With over 135 years of tradition and experience, OCAD University is one of Canada’s leading
post-secondary institution offering arts and design education. Not only is OCAD University an
academic and cultural hub, but it also generates a tremendous amount of economic prosperity for
the local Toronto community, the province of Ontario, Canada, and across the globe.
In recent years, OCAD University has taken several measures to ensure its continued importance
within Toronto’s academic and cultural milieu. On one hand, OCAD University has expanded
its program offerings, keeping pace with the demanding, fast-moving trends of the labour
market, by introducing programs such as Digital Futures (DF). Additionally, OCAD University
has sought to capture and measure the extent of its impact, specifically at the local level. Its
recent publication, Impact of OCAD University: Contributors to the Creative Community, draws
on publically available data and secondary literature to provide an overview of the importance of
the cultural and post-secondary education sectors, broadly, as well as of OCAD University,
specifically.
In the process of compiling this research, and in its continued effort to offer highly relevant and
effective programming, OCAD University has become aware of several areas of further inquiry
that might be fruitful in capturing its economic and cultural impact at a more detailed level, as
well as in examining program offerings so that they may match the shifting skills requirements
of the labour market. For this reason, OCAD University has commissioned Higher Education
Strategy Associates (HESA) to conduct a research project involving an examination of
institutional impact, as well as primary market research.
As the research process began, it quickly become evident that this project was better framed as
consisting of four distinct, though overlapping components: primary market research, a cultural
analysis, an economic analysis, and a target market probe into the Digital Futures program. And
although a connection certainly exists between these four components, and one finds themes that
exist across the four sections of this study, we ultimately felt that the goals of this project were
best achieved by approaching the study as a series of four, distinct projects, producing four
distinct report sections. By dividing this project into its composite parts, we were better be able
to provide OCAD University with concrete conclusions and recommendations, allowing us to
meet he objectives laid out in the original Request for Proposal, as well as the additional
requirements communicated to us by the client.
In the following pages, we explore each of these project sections discretely, though making
mention when there are areas of overlap between project components. This study begins with a
section on Primary Market Research. This section considers two thematic research themes: 1)
an exploration of the skills employers are currently looking for when hiring in arts and design
industries, specifically within the Greater Toronto Area; and 2) an analysis of student markets for
current and potential institutional programs and initiatives, including an analysis of education
and labor market expectations and desires. The purpose of this section, broadly speaking, was to
construct a snapshot of the current labour market, both from the perspective of employers in arts
and design industries, and recent graduates of OCAD University who work in those industries.
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By approaching the market research in this way, we were able to conduct a skills gap analysis
which, in turn, allowed us to draw conclusions and make recommendations on programs and
initiatives OCAD University can pursue in order to ensure that students are receiving the most
current and applicable training with which to succeed in relevant industries.
The second component of this research project involved a Cultural Impact Analysis. Here, we
sought to assess OCAD University’s cultural impact on two distinct but related communities
within Toronto: the arts and cultural milieu (what we term, the Arts Scene), and the urban
environment (i.e. Cultural Space). The cultural impact analysis was designed to help situate
OCAD University in its local and institutional setting, as well as provide a literature scan to
frame OCAD University’s cultural impact within the broader context of the institution’s impact
within the arts and design community. The objective was not only to capture and comment on
OCAD University’s current cultural impact, but also to offer suggestions on how to maintain and
enhance that impact.
This report’s third component is an economic analysis. Naturally, OCAD University has an
impact on the local, regional, provincial and national economies that extends beyond the direct
spending by the institution. In this section, a full economic impact analysis estimated both the
gross output and the value that is added to the economy as a result of this institution. The section
was organized around one main objective: to analyze OCAD University’s economic impact in a
local context, including relevant data on current students, alumni activities, staff, visitors and
tourists, and physical plant. The resulting picture of OCAD University’s economic impact is a
multi-leveled
(local/regional/provincial/national),
multi-dimensional
(output/tax
revenue/earnings/jobs created), and goes beyond the direct impact to show how the institution
benefits the broader economy.
The final section of this report narrows its focus, and considers one specific program, the Digital
Futures program, as part of a Target Market Probe. Recently created, the Digital Futures
program is marketed as a highly collaborative, cross-disciplinary program, which provides
students expertise in art, design, science, and enterprise. In the establishment of this program,
OCAD University has set certain targets with respect to enrolment figures. To date, however,
these targets have not been. As such, the Target Market probe examines key aspects of the
program – both with respect to its construction, branding, and advertising – in order to better
understand student perceptions of Digital Futures, specifically, and perceptions of OCAD
University, more broadly. With this information, we offer a number of conclusions and
recommendations on how OCAD University might adapt its strategy in order to achieve higher
enrolment rates.
We thank OCAD University for the opportunity to conduct this research, and we hope that the
institution benefits from our analysis and recommendations.
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2. PRIMARY MARKET RESEARCH – SKILLS GAP
ANALYSIS
Introduction
Amidst fast-changing labour market demands, post-secondary institutions must remain proactive,
ensuring that the skills and knowledge provided to graduates meets the evolving requirements of
employers. Universities’ ability to provide students with market-relevant skills either through or
alongside their academic programs not only impacts graduate outcomes but can also, in turn,
affect an institution’s reputation. One way to understand and anticipate labour market trends is
through market research and analysis of industry trends in those fields most relevant to an
institution’s mission. This research can probe employers’ mindset, and in doing so can provide
valuable information on desired skills and labour market gaps. The information gleaned from
this analysis can also provide insights on market expectations and desires, which ultimately can
help determine the best skills and program areas to for an institution to pursue within the context
of employment and student demand in the GTA.
To this end, the Primary Market Research – Skills Gap Analysis section of this study seeks to
provide answers to two thematic research questions. The first question explored the skills
employers are currently looking for when hiring, specifically within the Greater Toronto Area.
The aim of discovering such skills-preferences was to identify any potential labour market gaps
in the specialized undergraduate and graduate programs offered by OCAD University. Here,
particular attention was paid to new and upcoming undergraduate and graduate programs. This
aspect of the study established the constraints and trends in the labour market from the specific
perspective of potential employers.
The second research question provided a mirror to the first. Here, we collected and analyzed
data on student markets for current and potential programs, including an analysis of education
and labor market expectations and desires. This was accomplished by assessing current student
demand for specific program groups, desired outcomes, and delivery preferences, as well as a
detailed assessment of external factors, including long term economic changes, demographic
trends, and shifts in the regulatory environment. Ultimately, this established the constraints and
trends in labour market conditions from the perspective of recent graduates, including
consideration of the impact of extrinsic and environmental factors.
Based on the evidence gathered above, we explored options for pursuing programs or initiatives
that will situate OCAD University in a relative position of strength within the context of
employer needs and recent graduate demand, with a specific focus on the Greater Toronto Area.
We paid particular attention here to specific skills clusters, which best align with the assessed
factors. Drilling down to the level of skill group clusters allowed this analysis to focus on
specific labour market outcomes, and facilitated the comparison of programs and initiatives that
share skill groups.
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Our findings for the Primary Market Research are organized into five thematic sections. The
first section is a discussion of methodology, and outlines the background research, along with
interview instruments, collection methods, and respondent profiles. Next is a discussion of “The
Hiring Process,” which probes firms’ strategies and tactics when recruiting new employees, with
a specific focus on the involvement of OCAD University. The third section, “OCAD University
and the Workplace,” explores the localized labour supply – experiences, perception of quality,
and labour direction of OCAD University graduates – both from the perspective of employers
and of alumni. Following this, the fourth section examines “Skills and the Skills Gaps.” This
section examined localized labour demand (skills and experience needed, or expected, by the
most important employers of OCAD University graduates). This assessment was based on the
status quo (recent experiences of graduates and employers), perceived or expected labour market
characteristics (which are equally important in motivating employer, and graduate behaviour),
and an assessment of exogenous factors, including demographic trends, long term economic and
market trends, emergent factors (such as potential high growth sectors and technologies), and the
potential for major changes originating from regulatory shifts. Last, a “Conclusions and
Recommendations” section offers insights on various best programs and initiatives for OCAD
University to pursue.
Methodology
It is crucial to note at the outset that the methodology and instruments used for the labour market
assessment were specifically tailored to the needs and context of OCAD University and its
students. The assessment criteria that would be appropriate for a professional business school,
for example, are and should be different from those used by a university with a historical and
current focus on arts, design, and emerging disciplines (such as strategic foresight or interactive
technology). Tailoring the analysis in this way has made it more relevant to the shareholders, and
to any future application of this study to decision making processes.
Several sources provided relevant background information ahead of conducting our primary
market research. First, the industry categories outlined in the Strategic National Arts Alumni
Project (SNAAP) was used in order to classify and delineate the various industries into which
OCAD University graduates transition. We also referred to relevant studies on employment in
creative industries to acquire relevant background information on employment trends in arts and
design industries; these sources included: the Toronto Arts Council, the City of Toronto, the
Martin Prosperity Institute, the Ontario Media Development Corporation, and the Otis College of
Art and Design.
In addition to background research, we conducted primary research both with OCAD University
alumni, and with employers in Toronto’s arts, design, and cultural sectors. Central to HESA’s
approach was the design and delivery of three key informant interview instruments: one for
recent OCAD University alumni, and two for employers in the Greater Toronto Area.1
1
Note: The instruments used in this section of the study are each reproduced as an Appendix to this document.
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Alumni Interviews
For the alumni interviews, recruitment was straightforward: OCAD University agreed to provide
a list of potential alumni respondents from its institutional database. These respondents had all
graduated from OCAD University within the past six years – meaning that all respondents
received their degrees after OCAD University had received university accreditation. HESA
staff prepared an invitation email, which was approved and distributed by OCAD University
staff to recent alumni. The email invited alumni to participate in an incentivized interview, and
guided potential recruits to an online scheduling portal where they could select a date and time
for their interview.
These long-form, semi-structured, qualitative interviews lasted anywhere from 30 to 40 minutes,
and were conducted by HESA staff. Although interviews followed the survey instrument,
latitude was given to explore various areas in more detail, or go off-topic, at the interviewer’s
discretion. HESA staff and OCAD University agreed to a target quota of 40 alumni respondents.
To achieve this target quota, two rounds of 400 emails were sent by OCAD University staff to
alumni.
The instrument for the alumni interviews was devised and deployed by HESA staff, and was
approved by OCAD University. The instrument explored a number of issues relevant to recent
OCAD University alumni. Broadly speaking, the instrument probed three areas:



A detailed description of respondents’ experiences when joining the labour market, and
their experiences once on the job.
In in-depth exploration on the usefulness of specific elements of their OCAD University
educational experience in this context, including skills learned (or not learned) as part of
their program of study, employment support services offered by OCAD University, and
informal employment supports (such as professional networks developed while
enrolled).
A probe and exploration of alumni perceptions of a skills gaps in their current industry
(i.e., skills or abilities that the respondent feels would have been useful to have learned,
but that were not obtained while at OCAD University).
In total, forty-one OCAD University alumni participated in this section of the study. All
respondents had graduated from OCAD University within the past six years, with a slight
majority having graduated either in 2012 or 2013
All respondents work in the Greater Toronto Area; of these, 76.9% reported working in the city
of Toronto proper. The strong majority of respondents (87.8%) were currently employed (either
full-time, part-time, seasonal, contract, or freelance), while 12.2% of respondents reported that
they were not currently employed in any capacity at the time of the interview.
Of respondents who reported being currently employed in fields directly related to their postsecondary programs of study, 67% were holders of Bachelor of Design degrees, while the
remaining 33% were graduates of the Bachelor of Fine Arts program. The employment
breakdown for holders of each degree, with respect to specific programs, was as follows:
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Table 1 – Respondent Employment Figures - Bachelor of Design, by Program – currently employed
PROGRAM OF STUDY
Advertising
Graphic Design
Illustration
Environmental Design
Material Art and Design
Industrial design
# OF RESPONDENTS
2
6
5
4
3
4
Table 2 – Respondent Employment Figures - Bachelor of Fine Arts, by Program – currently employed
PROGRAM OF STUDY
Criticism and Curatorial Practice
Drawing and Painting
Integrated Media
# OF RESPONDENTS
1
7
4
Table 3 – Respondent Employment Figures - Bachelor of Fine Arts, by Program – currently unemployed
PROGRAM OF STUDY
Cross-Disciplinary Art Public
Drawing and Painting
Sculpture and Installation
# OF RESPONDENTS
1
2
2
As evident in the tables above, all respondents who hold Bachelor of Design degrees were
currently employed at the time of their interview; contrastingly, of those respondents who hold
Bachelor of Fine Arts degrees, 70.5% were currently employed when interviewed, while 29.5%
reported being currently unemployed.
The industry sectors2 in which respondents work varied, as follows:
Table 4 - Industry of Alumni Respondents
INDUSTRY SECTOR
Arts Community
Creative Industry
Design
Service Industry
Academia
Cultural Sector
Other
# OF RESPONDENTS FROM SECTOR
2
8
15
7
3
3
2
2
As mentioned, industry sector categories were taken from the classification system used for the SNAAP survey.
SNAAP offers the following as examples of industry sector categories: “Arts Community” – practicing artists,
curators, venue owners, gallery owners, arts advocacy organizations, arts education; “Creative Industries” – firms
and professional associations, film, TV, digital media, publishing, music, design, advertising, architecture. “Cultural
Sector” – government, non-profit, community development;
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As the above chart highlights, the majority of respondents worked either in the Design (37%) or
Creative (18%) industries. This result is not surprising, given that the majority of respondents
held Bachelor of Design degrees, and are therefore more likely to be employed in related fields.
On the other end of the spectrum, zero respondents worked in the digital media industry, and
only 3% reported working the Cultural sector.
Employer Interviews
Two instruments were used for employer interviews: one short-form survey and one long-form.
Our study focused on soliciting input from those among the core, content and creative segments
of Toronto’s cultural and creative industries. By targeting firms within these industry categories,
we obtained a good cross section and understanding of the perception and breadth of OCAD
University’s cultural impact – this also provides rationale for not including certain employers
(e.g. Starbucks) in our study. That said, even among alumni who are professional artists, 48%
work a single job while another 49% work two or more jobs. As such, some caution must be
exercised, as employers likely only partially represent the avenue through which OCAD alumni,
staff and students contribute to the local artistic community and creative industries.
Furthermore, literature suggesting that artists and creative workers may sustain themselves with
“day jobs” that do not account for their creative outputs – as reflected in part by the very high
numbers of OCAD University alumni who participate in fine and crafts arts production in their
free time3 – further supports this research project strategy of broadening the net of interviewees
to include a broad range of intermediaries, tastemakers and likely employers across cultural and
creative industries in the Greater Toronto Area. Interviewing across a cross-section of the
cultural economy and arts community, with attention to the role of intermediaries and policy – is
a practice common in case study research within various cultural industries.
Initially, OCAD University provided the names of roughly 200 businesses in the Greater Toronto
Area related to arts and design industries. HESA staff then conducted internet research to
compile contact information associated with each of those businesses, and to further populate the
list. This process involved identifying the councils, boards, and associations to which the
original 200 businesses belonged, in order to add related or associated businesses. In addition, a
“snowball question” was included at the conclusion of interviews, which afforded the
opportunity for respondents to identify other businesses that might be willing to participate in the
study. Ultimately, a list of more than 1000 businesses was compiled. In some cases, business
included several high-ranking contact names (such as a President/Owner, Manager, Director,
etc.). As a result, the more than 1000 businesses on our list represented more than 1,500
contacts. This list became the basis for interview recruitment.4
Recruitment largely relied on “cold calling” contacts in order to gauge potential respondents’
willingness to participate in the study.5 Upon telephoning a business contact, interviewers asked
potential respondents to participate in the long-form interview; if the contact was uninterested,
3
SNAAP, pg. 16.
The business list can be found in Appendix D of this Report.
5
It is important to briefly note that, as these calls were for the purpose of original market research, no anti-spam or
DNCL legislation was breached
4
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HESA interviewers then asked if the contact might instead be willing to participate in the
truncated, short-form interview of roughly 10-15 minutes.
As might be expected, given the nature of the collection method, recruitment proved challenging.
Industry standards estimate “cold call” response rates at approximately 9%6 – though our study
would ultimately achieve a response rate of slightly more than 14%. Having originally set a
target of between 250 and 300 respondents, the slow pace of recruitment (coupled with reporting
deadlines) forced a reevaluation of target quotas. After conversing with the client, it was agreed
that a target quota of between 100 and 150 respondents would be more realistic given the
timeframe, and would still allow for a useful sample size.
The two interview instruments for the employers survey were designed and deployed by HESA,
and approved by OCAD University staff. The short- and long-form instruments explored similar
themes, but did so to varying degrees of depth. The interviews collected information on
company specifics as well as employers’ perceptions of their company, industry, and OCAD
University – both as an institution, and with respect to its graduates. Interviews sought
qualitative opinions on the following areas:




Employer satisfaction with the skills possessed by OCAD University graduates,
Perception of OCAD University’s ability to prepare students for work in various
industries;
Employers’ perception of the current labour market, and relevant industry-specific skills;
Employers’ thoughts on the future of their particular company, industry, and the
trajectory of skills-requirements.
The long-form employer interviews lasted between 45 and 60 minutes, while the short-form
interviews lasted roughly 10-15 minutes. Both sets of interviews were semi-structured and
qualitative in nature.7 Although discussions followed an approved interview instrument, latitude
was given to explore various themes in more detail, or go off-topic, at the interviewer’s
discretion.
One-hundred-and-twenty-eight respondents participated in the Employer Survey section of this
study – 79 completed the short-form interviews, while 49 completed the long-form interviews.
The overwhelming majority (93%) of businesses are located in the Greater Toronto Area.
Although we attempted – and successfully – interviewed employers from a variety of industry
sectors, two sectors predominated: the Arts Community and the Cultural Sector. For the
purposes of classification consistency, we reproduced the industry categories as outlined in the
Strategic National Arts Alumni Project (SNAAP).
, Andrew Kohut, Scott Keeter, Carroll Doherty, Michael Dimock, and Leah Christian, “Assessing the
Representativeness of Public Opinion Surveys,” Pew Research Center for the People & Press, May 2012, pgs. 1; 2.
7
Both instruments can be found in the appendix to this Report.
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Figure 1 - Industry of Employer Respondents
Digital Media
5%
Other
7%
Cultural
26%
Design
9%
Creative
Industries
13%
Arts Community
40%
The companies and organizations surveyed were, by and large, well established firms, with 46%
of respondents having been in operation for more than twenty years, and only 2.3% of firms
indicating that they were in their first year of operation.
Firms offered a mixture of employment-type, although “contract” positions were the most
popular.
Figure 2 - Type of Employment Offered by Firm
70
60
50
40
30
20
10
0
Full-time / Long-term
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Part-Time
Contract
Freelance
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Report on Institutional Impact and Market Research
After establishing a firm’s particulars, the survey next probed on a number of issues pertaining to
the labour market, and specifically OCAD University graduates’ experiences therein. The results
of this exploration are presented in the following sections.
The Hiring Process
Employers were asked about their hiring processes and tactics in an attempt to better understand
a firm’s approach, as well as to explore the level of proactive involvement OCAD University
plays takes in helping graduates transition to the workplace.
Confirming current literature on the health of arts and design industries in the Greater Toronto
Area, firms reported expected increases in hiring, as well as a healthy perception of their firm
and industry. Ninety-one percent of respondents reported that their firm had either increased
their number of employees (58%) or had maintained employee levels (32.5%) over the past three
years. Only 9 % of firms noted a decrease in employee figures. Similar trends held for the
hiring of recent8 graduates, where 53.5% of respondents reported hiring more recent graduates
over the past three years, compared to 20% of firms, who reported hiring roughly the same
number of recent graduates over the past three years. Interestingly, no firms reported hiring
fewer recent graduates.
Overall, respondents possessed a generally positive view of their firm’s health, as well as the
health of their industry, as a whole. When asked for their opinion on the overall business
environment of their firm, 32.6% of respondents held a “very positive” outlook, while 18.6% felt
“positive” about their firms overall health. Contrastingly, 14% of respondents held a “negative”
view of their firm’s health, and only one respondent felt “very negative” about the health of their
firm. Numbers were similar, though slightly less favourable, when respondents were asked their
opinion on the overall health of their industry.
Figure 3 - Perceptions of Industry Health vs. Perceptions of Firm Health
Very Positive
Positive
Neutral
Negative
Very Negative
Not Sure
N/A
0
10
20
30
Firm Health
8
40
50
60
70
80
90
100
Industry Health
For this study, we defined “recent” as being a person who had graduated within the past three years.
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Having established hiring trends and perceptions of firm and industry health, the survey explored
aspects of the hiring process from three distinct, though related perspectives: employers, alumni,
and the institution.
This first perspective – that of employers – explored the strategies and tactics employers use
when recruiting new employees. Here , it quickly became evident that many employers in arts
and design fields, specifically in the GTA, tend to conduct their hiring using informal networks.
Employers were asked to explain their hiring tactics, listing multiple sources of recruitment, if
necessary.
Figure 4 - Employer Hiring Tactics
Internship program
3%
University Career
Centre
8%
Social media
10%
Job posting on
website
18%
Targeted search
4%
Print advertisement
2%
Word-of-mouth
55%
Exploring this data further, one finds several features of note:





HESA
Most employers use some form of word-of-mouth recruitment;
Among websites used for recruitment, “Work in Culture” predominates as the job-search
website of choice;
Only two respondents specifically mentioned using the OCAD University listserv, or
formal OCAD University career services to recruit new employees;
One respondent noted conversing with OCAD University professors in order to gain
information on promising students (a form of word-of-mouth);
“University Career Centres” was not frequently mentioned as a method thorough which
employers recruit potential new employees.
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Report on Institutional Impact and Market Research
As the above information describes, employers in the arts and design community
overwhelmingly rely on word-of-mouth methods for recruitment.
"We meet with people who come recommended. We never hire a stranger."
“We rely on referrals from staff and friends. We get too many applications to look
through all of them.”
“When we recruit, we go through our friends, and our friends of friends.”
The informality of the recruitment method should not be surprising; it does, however, indicate
the importance of arts and design institutions in fostering and facilitating student access into
these informal networks.
The second angle from which examined the hiring process was from the perspective of OCAD
University alumni – specifically, probing the experiences of job candidates looking for work.
One of the more interesting results was the extent to which OCAD University alumni used, or
were even aware of institutional resources to aid with their job search. Recent alumni were
asked if, while a student, they aware that OCAD University offered career-related services or
programs while they were a student that could aid in their job search process after graduation.
Here, 56% of respondents reported being completely unaware that OCAD University offered any
type of career-related programs. Numbers were even more troubling when questions turned to
students’ use of career development initiatives:
Figure 5 – Awareness and Use of OCAD University Career Services
Awareness and Use of OCAD University
Career Services
100
90
80
70
60
50
40
30
20
10
0
"While a student, were you
aware of any career-related
programs offered by OCAD
University?
"When you started looking for a
job, did you seek out or use any
career development initiatives
offered by OCAD University?"
Yes
Of the 44% of alumni who were aware that career service programs and initiatives existed, only
34% of this group used these services in any capacity. As evident above, very few former
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students used institutional resources to aid in their job search. An anecdote serves to highlight
this point: one respondent, who had returned to school as a mature student, noted that she was
able to easily find and use career services initiatives. Her point, however, is that as a mature
student she was aware of the need for these services, and proactively sought them out. She
reported being surprised by how few students were aware of, or used these types of programs.
The point, therefore, is not that such programs and initiatives do not exist, of course; rather,
students either are not seeking these services out, or the institution (as yet) is not doing enough to
make students aware of these initiatives, and their importance.9
A third angle from which to understand the hiring process – and one that may not immediately
come to mind – is the institutional perspective. An interesting feature of this section of the
survey was the disparity that emerged between employers who had attended OCAD University
events, and those who did so with thoughts of recruitment or a desire to scout potential future
hires. It is clear that OCAD University-run public events are a popular draw amongst the arts
and design community. A strong majority of respondents (85.4%) indicated that they had
attended at least one OCAD University event, such as exhibitions, within the past three years.
However, when asked if they had attended these events with the objective, or even
contemplation, of recruiting future employees, only 21.2% of respondents indicated that they
used these events as a method of scouting potential employees. Simply put, employers tend not
to be thinking about recruitment when they attended OCAD University events. Looking at this
from the student perspective, many students reported frustration in the lack of assistance of the
professoriate in facilitating connections at these sorts of events. More than one alumni
respondent mentioned that professors did not attend their student exhibitions, or did not followup on facilitating connections made at these public events.
This, perhaps, is an area worth exploring in greater detail in future; OCAD University might
consider designing events in such ways that entice employers not just to attend (which they
clearly already do), but also that get employers thinking about OCAD University public events
as environments for recruitment.
Taking these three perspectives - employer, alumni, institution – together, an image of the hiring
process emerges. Job-hunting in the arts and design industries predominantly relies on access to
(largely) informal networks. Employers are looking for word-of-mouth recommendations from
trusted individuals within their networks, and recent graduates are looking for ways to access
these networks – graduates are confident with their technical skills; what they lack is the node at
which to enter, and take advantage of these networks. From an institutional perspective, OCAD
University could adopt this role through an active career services centre, by promoting graduates
via public events, or by using its professoriate as intermediaries, connecting students to networks
and opportunities. As yet, it seems, OCAD University has not maximized its potential in this
regard.
During the course of presenting our findings, we became aware that OCAD University’s Career Services
department is relatively new initiative. Our findings, therefore, should serve to underline the importance of
promoting this department to students, making programs available to them, and ensuring that students understand
the value of these services.
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OCAD University and the Workplace
Several questions probed issues related to how employers perceive OCAD University, OCAD
University graduates and, specifically, how OCAD University graduates fare in the workplace
relative to graduates of other institutions.
Many firms reported employing recent graduates. In fact thirty-seven of the forty-four
companies interviewed indicated that their company had hired recent graduates.
Figure 6 - Employment of Recent Graduates
Does your Company Currently Employ Recent Graduates?
No
14%
Not Sure
2%
Yes
84%
The situation becomes somewhat more complicated, however, with the follow-up question,
where respondents were asked to identify if they currently employed recent graduates
specifically from OCAD University. To this question, only 43.9% of respondents answered in
the affirmative, while 22% indicated they have not hired recent graduates from OCAD
University, and 34.1% indicated that they were unsure from which school their recent hires had
come.
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Figure 7 - Employment of Recent Graduates of OCAD University
Does Your Company Currently Employ Recent Graduates
of OCAD University?
Not Sure
34%
Yes
44%
No
22%
Here, the “Not Sure” category is perhaps most instructive. Many respondents, it seems, do not
put a premium on a candidate’s alma mater, focusing instead on a specific candidate’s qualities
and skills.
"How well they do [in the hiring process] isn’t related to where they went to school;
mostly it’s a personality thing."
This difference is most pronounced amongst respondents from the Arts Community and in the
Design field. Employers from the Arts Community, such as gallery owners, frequently noted
that a candidate’s alma mater has little bearing on their job success, and that a candidate’s
personal talent or abilities is not directly attributable to institutional training. When employers
from the design industry category were probed further, a majority suggested that OCAD
University is seen as less effective than other institutions in educating designers (most notably
York and Ryerson amongst institutions in the GTA).
This trend is highlighted further when one compares, side-by-side, the hiring of recent graduates
from programs related to arts and design, with the hiring of students specifically from OCAD
University.
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Figure 8 – Recent hiring of graduates from Arts and Design programs vs. Recent hiring of graduates from OCAD University
100
90
80
70
60
50
40
30
20
10
0
More
Fewer
Arts & Design
Same
Not Sure
OCAD University
Of note here is that while more than half of employers believe they will be hiring more Arts and
Design graduates over the next three years, only one-quarter of respondents think they will be
hiring more OCAD University graduates. This point suggests that, currently, OCAD University
does not possess a competitive advantage over peer institutions (especially in the field of design).
In many cases, employers simply do not pay much attention to a candidate’s alma mater; in other
cases, however, OCAD University is seen as being in a position of relative weakness with
respect to its graduates – in either case, OCAD University does not appear to possess a
competitive advantage over peer institutions.
Of the respondents who were certain that they currently employ recent OCAD University
graduates, very few (only 21 respondents) could recall the degree held by OCAD University
alumni employees, or the program of study from which they graduated. 10 For those that knew
this information, there was a wide distribution of the programs from which graduates were hired,
and no particular OCAD University program exceled with respect to the hiring of graduates from
a program or degree type.11
The most intriguing, if somewhat problematic, aspect of responses in this line-of-questioning is
that employers seem to not immediately think of OCAD University as producing the best
prepared, or best performing graduates. In fact, when asked about how OCAD University
10
That few employers could recall the specific programs from which OCAD University alumni graduated is not
altogether surprising. In some cases, employers are being asked to recall programs of people they hired four, five,
even six years ago; while this is possible for small very specialized firms, it is likely that many employers simply do
not remember the specific programs from which their employees graduate. Of the data that does exist.
11
Of those could recall programs of study, Graphic Design was the most popular. BFA and BDes graduates were
almost equivalent with respect to gaining employment. Again, however, the sample of those who could recall this
data was too small to be of significance.
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graduates compare to employees from other institutions, with respect to on-the-job performance,
only 16.7% of respondents could report confidently that OCAD University graduates perform
“better than” graduates of other institutions.
Figure 9 - OCAD University Graduate on-the-Job Performance
"In terms of on-the-job performance, how do OCAD University
graduates compareto employees from other institutions?"
Better Than
17%
Not Sure
44%
Equal To/It
Depends
39%
Worse Than
0%
It is not that employers feel OCAD University graduates perform “worse than” graduates form
other institutions – in fact no respondents felt this was the case. The majority of respondents
were simply unsure; as well, many respondents reported that OCAD University graduates were
“equal to” grads from other institutions, or that relative success depending on the individual, not
the institution from which a student graduates.
Similarly, when asked how well OCAD University prepares its graduates for successful careers,
only 5% of respondents felt confident that OCAD University does “very well” in preparing
students for successful careers in various arts and design industries.
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Figure 10 - OCAD University Student Preparation
"In terms of on-the-job performance, how well does OCAD University
prepare its students for sucessful careers in your industry?"
Very Well
5%
Adequately
14%
Not Sure/It
Depends
67%
Somewhat
14%
Here again, as to be expected, the majority of respondents thought that a graduate’s preparation
and performance depends on the particular individual. There was, however, some cause for
concern. In the open-ended questions associated with this topic, some comments from
employers noted an inconsistency of quality among OCAD University graduates, variously in
terms of their aesthetic and technical skills, their preparedness for transition to work, and
individually their personal attitudes and initiative. While this is largely to be expected – some
students are more keen and mature than others – the reference to arts and design skills may be
worth further reflection by OCAD University to discern whether such inconsistency is the
normal course of things.
The fact remains: respondents do not think that OCAD University graduates are any more likely
to have the necessary strengths and skills than graduates from other institutions. OCAD
University alumni simply do not benefit from a reputational advantage over graduates of other
institutions.
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Skills and the Skills Gap
A number of questions posed both to recent alumni and employers explored perception of a skills
mismatch between the skills attained by OCAD University graduates and the desired skills by
employers in a variety of fields.12
To begin, employers were asked about what skills they prize in potential candidates when their
company is hiring. Of the responses that align with the SNAAP categories, the top five skills
that employers look for were as follows:





Interpersonal relations / collaborative skills
Technical / Artistic technique
Financial / Business management skills
Creative thinking / problem-solving skills
Entrepreneurial skills
We asked a related question to recent alumni, asking: of the skills acquired at OCAD University,
what now seemed most relevant to success in their industry. Several interesting trends emerged.
In one respect, it seems that several skills acquired by OCAD University students serve them
well in their current industry, as they line-up with employers’ desired skills. These include:




Artistic technique
Interpersonal relations / collaborative skills
Listening / revising
Critical thinking / argument analysis
Conversely, employers were asked about what skills institutions need to better provide students
in order to prepare them for successful careers after graduation. The results were clear:
Table 5 - Skills That Should be Provided by Institutions
Skill Category
Critical thinking / argument analysis
Broad Knowledge and education
Listening and Revising
Creative thinking / problem solving
Research skills
Clear writing
Persuasive speaking
Project management skills
Artistic technique
Financial / Business management skills
Entrepreneurial skills
Frequency of Response (%)
9
4.6
9
18.2
9
55.2
9
54.4
11.4
83
56.6
12
Here, in order to maintain reporting consistency, skills categories were replicated from those used in the SNAAP
survey. Respondents were not prompted on these categories; rather, responses were recorded and then coded
following the interview.
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Interpersonal relations / collaboration
Leadership skills
Networking / relationship-building
Teaching Skills
13.6
13.6
22.8
6.8
Here, one finds a clear emphasis on the need for institutions to better provide business and
entrepreneurial skills, along with better writing skills, to its students. When respondents were
prompted further, many indicated that, coming out of school, they lacked both the hard and soft
business skills necessary to succeed in the current labour market landscape.
This point was driven home when alumni were confronted with a mirrored question, asking
about the skills OCAD University graduates wish they had, but did not obtain at OCAD
University:
Figure 11 - Skills that Now Seek Relevant
Frequency of response (%)
"What skills now seem relevant at your current job, but that you
wish you had learned (and did not obtain) at OCAD University?"
100
90
80
70
60
50
40
30
20
10
0
Overwhelmingly, the most frequent responses were:



Entrepreneurial skills;
Financial / business management skills; and,
Clear writing.
From the perspective of employers and alumni, alike, a consensus emerged on a skills gap.
Clearly, the majority of respondents felt that recent alumni lack the business and entrepreneurial
skills (both hard skills and soft skills) required to succeed in the current labour market.
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Figure 12 - Skills Gap
This need for greater business acumen is, according to employer respondents, a relatively recent,
as highlighted when employers were asked about changes to the profile of required skills of their
employees over the past five years.
"The need for business skills and media marketing skills are probably the biggest
changes over the past 5 years."
“What’s changed? New employees need better administrative skills than before – the
‘theatre’ world has stayed the same.”
“[In the last five years] we’ve hired people who have more business and entrepreneurial
skills – they need to be able to market and sell themselves.”
“Stuff like project management and communication don’t change… but the tools have
changed. For example, we’re now using things like internal social networks and new
marketing tools. Our new hires need to be more comfortable with the totality of the
business operations, and the technology that goes with it. They can’t just be
designers.”
The landscape, evidently, has changed over the past five years. This is, perhaps, partly
attributable to the rise in freelance work in the arts and design sector. Those who do freelance or
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contract work, or who are self-employed, must be comfortable with all aspects of the business
process, requiring a range of skills that goes beyond the technical and theoretical knowledge
obtained in arts and design programs. As well, it seems that the nature of arts and design
companies has shifted in the past five years. Several respondents noted that their employees’
responsibilities are no longer segmented, and that everyone must now be comfortable with all
aspects of the business, interchangeably. Respondents described that employees must be able to
link theoretical knowledge with practical business know-how; they must also possess a
familiarity with office technology skills such as email and social media use, and must have a
good sense of professional etiquette.
How well has OCAD University adapted its programming to ensure that its graduates succeed in
various industries? The numbers here were somewhat discouraging. Of the twenty-one
respondents who currently employed OCAD University graduates, only three noted that OCAD
University and its graduates had adapted “very well” with the changing skills-requirements over
the past five years; while another three respondents indicated that OCAD U programming had
allowed graduates to adapt “moderately well” to shifting skills profiles.
Conclusions and Recommendations
Ultimately, gaps have emerged over the past years between the skills provided to OCAD
University graduates, and the skills most desired by employers in the GTA. As discussed, these
gaps are most pronounced in the relative unpreparedness of recent graduates to cope with the
business and entrepreneurial skills (both hard and soft skills) required by the current labour
market. Redressing this gap will not only go a long way in ensuring that OCAD University
graduates remain at the forefront of relevant programing, but also will provide students with the
best academic preparation with which to succeed in their desired labour market, post-graduation.
Program changes that place greater emphasis on business acumen and entrepreneurial skills
represents one area for improvement. Another, it seems, is in the role that OCAD University
plays with respect to career services and professional network-building. Part of this might have
to do with fostering a more proactive professoriate. Using professors’ networks and connections
to facilitate students’ transition to the business world could be an area for improvement, and
would allow students to be better situated to take advantage of employment opportunities, and
established networks.
Further, as evident from the data, there seems to be a lack of proactive involvement from the
institution’s career services in facilitating and assisting students with the job-search process –
though exercising some caution given the department’s relative infancy. It might be the case that
initiatives and programs exist, designed to provide students with tools with which to obtain
employment; however, the fact remains: too few students take advantage of these opportunities
and fewer still even know that they exist within the institution. Here, it is helpful to view the
institution – and career services, specifically – as a link between students and employers.
OCAD University is uniquely positioned to connect students with the job market, given its
reputation and its role in hosting a number of very-well-attended exhibitions. It might be worth
exploring how OCAD University’s career services can play a more active role in these public
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events, promoting student work not only for its achievement, but also for opportunities to
connect students with the business community, facilitating a process of networking, and
promoting the idea that businesses can use these events to recruit students for future
employment.
These areas – career services, proactive professoriate, and using public events as networking
opportunities – will have a positive benefit as a byproduct. Improving in these areas will allow
OCAD University to claim a competitive advantage relative to peer institutions. As the data
shows, OCAD University graduates are not performing poorly compared to graduates from other
institutions; however, OCAD University (or its graduates) do not possess a competitive
advantage amongst employers. Bridging the skills gap, and facilitating students’ transition into
the labour market, will allow OCAD University to demonstrate their success, and the success of
their graduates, thus developing a competitive advantage amongst arts and design-focused
institutions.
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3. CULTURAL IMPACT ANALYSIS
Introduction
Although culture and creativity are seen as drivers of the socio-economic milieu, an institution’s
economic impact is much easier to quantify. As such, the specific cultural impact that an
institution has on its surrounding community often remains elusive, even to those within the
institution itself. A cultural analysis, properly conceived, must seek to provide descriptive
meaning to factors that are often presumed to be intangible. Determining cultural impact is a
worthwhile venture, as culture, broadly defined, has gained prominence in urban and regional
policy as a lever for development. The impact of cultural communities and institutions has been
variously framed, as an economic engine, a tool for urban revitalization, a mechanism for placemaking (and marketing), an ingredient to quality of life and quality of place, as well as an avenue
for personal and social development.
Identifying and capturing cultural impact requires an understanding of how individuals and
institutions interact with each other, and with their community. For instance, participating in the
social community (e.g. gallery openings) and belonging to key networks (e.g. OCAD University
alumni) of a cultural sector are important pieces in constructing a vibrant creative ecology where
talent, ideas, skills, and projects can recombine for cultural initiatives (which, consequently, can
provide significant economic contributions). OCAD University and its alumni network are
important elements in this local cultural ecosystem, and represent significant pieces of
infrastructure for the growing and changing cultural and creative economy that is recognized as a
major economic driver in Toronto, in Ontario, and across Canada.
For this reason, a discussion of OCAD University’s cultural impact complements the larger
project of institutional analysis, to including a nuanced exploration of the social dynamics of
how OCAD University as an alumni network and as a university set within a broader community
of creative and cultural producers. Our approach to assessing OCAD University’s cultural
impact is to capture the institutions effect on three distinct but related communities within
Toronto: the arts and cultural milieu (i.e. Arts Scene); various cultural industries (i.e. Creative
Work); and, the urban environment (i.e. Cultural Space). These three key communities appear
throughout the cultural analysis; they reflect key themes in relevant literature; represent groups
of core, content and creative cultural workers within Toronto we’ve interviewed; and shapes the
thematic basis on which our research findings have been organized and presented.
The cultural impact analysis is designed to help situate OCAD University in its local and
institutional setting, as well as provide a literature scan to frame OCAD University’s cultural
impact within the broader context of the institution’s impact within the arts and design
community. The discussion of the main findings is organized thematically five sections. After a
discussion of Methodology and a Literature Scan, this report presents findings on two broad
spheres of cultural impact. The first, the “Arts Scene,” focuses on key contributions to the local
community of artists and cultural producers in Toronto, and discusses the role that OCAD
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University plays within Toronto’s vibrant and growing creative economy. The second sphere,
“Cultural Space,” presents a analysis of OCAD University’s contribution to the cultural
revitalization of urban space. Last, a final section discusses themes that emerged through the data
analysis, and presents conclusions and recommendations.
Methodology
As proposed, the cultural impact analysis section of the broader project uses a mixed-methods
case study approach to explore and capture the effect of OCAD University on its local
community, in terms of cultural impact. A case study of OCAD University and its immediate
Toronto cultural sector and creative economy is relevant, as the client is most interested in
understanding its various cultural impacts, in form and degree, within Toronto.
There is significant local context in terms of policy and academic publications on Toronto’s
cultural policy, major arts institutions, creative industries and local artistic production, which
make a case-study approach particularly rich and meaningful for the client’s understanding of
their position within this broader, dynamic milieu. Given the complexity of the cultural impact
assessment within Toronto, and the client’s interest in focusing on various aspects of its
institutional strengths and contributions, the project forgoes comparative case studies; should the
client desire deeper analysis of its position relative to peer institutions – whether within Toronto,
or across peer institutions in other jurisdictions – we suggest that be undertaken in subsequent
projects.
The cultural impact analysis portion of this project made use of the employer survey described in
the Primary Market Research section of this Report. Specifically, this section drew from
questions in the two sets of qualitative, semi-structured key informant telephone interviews with
employers from industries relevant to likely occupations of OCAD University graduates.
The first set of key informant telephone interviews involved brief (10-15 minute) telephone calls
with professionals, businesses, and other key targets in communities and industries likely to be
effected by OCAD University. These interviews probe high-level questions about the networks,
public participation, economic effects (including secondary effects and employment-related
indicators), and perceived impact of OCAD University and its graduates. Only a sub-section of
these questions directly inform the cultural analysis component of this report; however, the full
data set were reviewed as part of the cultural analysis.
The second set of in-depth interviews was semi-structured, lasting roughly 45-60 minutes, and
incentivized with a gift card for participation. From among a contact list of local cultural
institutions and creative industry firms, HESA invited potential participants who matched our
criteria for eligibility. These criteria, assessed by the interviewer at the time of the interview,
include: a detailed knowledge of OCAD University or its graduates; senior level placement
within their company, organization or cultural institution which operates in sectors related to
OCAD’s mission; and strong understanding of the respective sector.
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These interviews were designed to explore, in-depth, employers’ perceptions of OCAD
University, the role of OCAD in the business and cultural community, and the relationship (if
any) between the employer and the institution. Through this approach, we able to assess on a
broader and richer scale the impact that OCAD University has in the wider community, as well
as the impact of its graduates.
To help contextualize the research approach and findings, it is useful to clearly identify who we
interviewed and why. Firstly, given OCAD University’s desire to better understand its cultural
impact locally, we targeted respondents in the Greater Toronto Area. To help refine our
approach, we used the conceptual framework adopted by Ontario’s Ministry of Tourism, Culture
and Sport in which creative clusters comprise those firms and individuals whose “primary
occupation is the creation, production and monetization of creative products” (MTCS). Broadly
defined, artists and cultural workers are at the core of a series of concentric circles that
characterize the cultural economy: arts and cultural workers > content producers > creative
industries > supporting industries, as shown in the figure below.
Figure 13 - The Broader Creative Cluster
One possible data limitation bears mentioning: we did not have access to full plant/facilities
information nor account of faculty and staff participation in local arts activities.
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Literature Scan
The literature scan brings together a range of relevant academic and policy research, with
emphasis on the local cultural sector context within Toronto and Ontario. Key themes and
debates, which helped frame the original and revised project proposals for the cultural impact
assessment, are summarized, with key insights for the local context and OCAD University
institution highlighted.
This brings together a combination of academic, policy and industry research and reports,
compiles, compares and described recent facts and figures. A critical concluding discussion will
synthesize the data and its relevance for OCAD University in the context of its local cultural
contributions. This section will also articulate how various data and evidence relate to the
various ways in which the cultural economy manifests, and the multiple ways in which cultural
impact may be felt. As per the project proposal, a key focus of the data and literature will center
thematically on three overarching aspects of the local alts scene and cultural economy where
OCAD University is anticipated to have cultural impacts. These three themes remain: cultural
impacts on local neighbourhood in terms of social-physical space; contributions to Toronto’s arts
and culture milieu; and OCAD U’s contribution to networks and opportunities within Toronto’s
creative industries. Broadly speaking, these three themes – physical space, artistic community,
and creative economy – are among the most significant aspects to which, academic literature and
policy suggest, a cultural institution such as OCAD University may impact.
Drawing largely from academic literature in geography, urban planning, and cultural policy, we
find that the role of the arts and culture is increasing in the economic sphere, both in terms of a
growing cultural economy and thriving creative industries, as well as an increase in the cultural,
symbolic and design aspects of more mundane products and humdrum economic activity.
Whether from the perspective of understanding the spatial distribution of practicing across the
country, or how artists connect with their local community in the construction of art identities
and practice, there is a wealth of statistical and case study based research which we are using as
the basis of a synthetic literature scan of the academic literature to identify key debates,
emerging themes, as well as conceptual insights which are of particular relevance to the client, in
understanding and framing the cultural impact of OCAD University.
There has been a rather tight correspondence between the academic and policy literatures
regarding the connection between the arts sector, cultural economy, urban landscape and
intermediary institutions, such as OCAD University. While municipal policy has not focused on
cultural programs and creative industries as much in recent years, the is a strong legacy in
Toronto of significant investment and policy development surrounding arts infrastructure and the
cultural industries since, at least, the early 2000s. The connection between these policy
discussions and the academic literature is evident also in OCAD University’s publication, Impact
of OCAD University: Contributions to the Creative Community, which points to work by
researchers (e.g. Professor Vinodrai), think tanks (e.g. Martin Prosperity Institute), government
agencies (e.g. Ontario Media Development Corporation) and stakeholders (e.g. City of Toronto),
which are contributing to a rich and varied set of debates about the state of creative economy, in
Toronto and elsewhere.
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At an institutional level, and based on the findings of OCAD University’s institutional analysis
(SNAAP 2011 Data Highlights), the emphasis on film arts, photography and design as a key
personal activity of OCAD U alumni indicates the emphasis on visual arts (rather than creative
writing, culinary arts, music or film) as the sub-segment of the cultural industries among which
OCAD U alumni are likely to engage, and thus to which OCAD U is likely to have a meaningful
cultural impact through its programs and networks. As such, the list of intermediaries
approached for interviews includes strong representation among arts councils, galleries, fine arts
and design guilds, as well as arts, crafts and design events.
Among the academic literature on vibrant cultural and creative economies (Currid 2007;
Markusen and Schrock 2003; Scott 2004; Rantisi 2004) a recurrent and important theme for
dynamic and innovative scenes of cultural production is the importance of social networks.
Interesting, social networks was identified as critically important among over 50% of OCAD U’s
professional artist alumni, in the form of strong networks of peers and colleagues; mentors and
teachers; and public recognition of work (SNAAP p.15), and yet alumni also indicated rather
poor institutional experiences on the very related skills of Interpersonal relations and working
collaboratively, and Networking and relationship building (SNAAP p.13). Major themes and
issues identified in policy and academic research on creative work include risk of selfexploitation, project-based work, feast and famine work-life cycle, blurring of professional and
personal social spheres (e.g. see Vinodrai, McRobbie, Hracs).
Finally, with nearly 50% of OCAD University alumni respondents recognizing that the
Opportunity to live in an artistically vital city (SNAAP p.15) suggests that there is a potential for
strong connections between the university and place where OCAD University is located.
Consistent with the literature, this happens at both the local neighbourhood (e.g. Lloyd 2006;
Bain 2005) and wider city scale (e.g. Leslie and Rantisi 2006; Currid 2008). Moreover, local
policy and media in Toronto have featured OCAD U and its iconic architecture during the city’s
cultural renaissance of the early 2000s, during which period OCAD U was featured among
Toronto’s major cultural institutions and signature buildings (e.g. Art Gallery of Ontario &
Royal Ontario Museum). Toronto’s agenda-setting Culture Plan for the Creative City and its
subsequent reports, identify and call for the strategic use of Toronto’s “arts, culture and heritage
assets to position itself as a Creative City, a global cultural capital” (2003).
This wave of cultural revitalization was reinforced both by government and the private sector.
Local and provincial government allocated resources to augment local cultural strengths in
several ways, including the City’s Live With Culture campaign and the Ontario Cultural
Attractions Fund investment in the inaugural Nuit Blanche (October 2006). Such policy interest
and financial support was also present among private sector city-builders, notably the Toronto
City Summit Alliance whose policy paper Enough Talk (2003) and Luminato cultural festival
grew out of the local cultural zeitgeist of the moment. Whether by intention or accident, OCAD
U was part of this renaissance and contributes to the set of urban cultural assets which supports
the various aims of image building, cultural tourism, talent attraction and civic engagement
which the urban policy language foregrounds. The significant investment of over $1 billion
dollars in Toronto’s architectural renaissance prompted the City to be strategic about culture, and
saw significant expansion of architectural projects.
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Shortly after OCAD U’s ground-breaking new building, a wave of cultural revitalization
reshaped and renovated many cultural venues and galleries across Toronto, amounting to an
estimated $1 billion investment in Toronto’s arts infrastructure, including flagship cultural
institutions which marshalled resources from all three levels of government as well as private
sector funding. The result is an architecturally distinctive, expanded the physical cultural
infrastructure within Toronto that reflects a collective desire to develop internationally
recognizable places. OCAD U’s main building is a striking feature of Toronto’s cityscape, which
has a dual cultural impact: on one hand, the physical plant and galleries affiliated with OCAD U
provide venues and workspace for the local arts community, while on the other hand, the unique
and playful architecture of OCAD U’s facilities integrate the university with wider initiatives of
culture-led urban regeneration.
Beyond the cultural impact which OCAD U has on its’ local community, the university also
benefits significantly from being located in a large and culturally vibrant city. This echoes
research on the spatial distribution of artists working in cities across the USA, where large urban
centers tend to account for high concentrations of practicing artists as well as a greater range of
thriving creative and cultural industries (Markusen and Schrock 2003). Major urban centers have
also been noted to provide both the physical space for artistic and creative production (Rantisi
2004) as well a reservoir of cultural and symbolic cues that feed into artistic process and cultural
products in a potentially virtuous cycle (Currid 2007, Scott 2004). In other words, beyond their
basic infrastructure, big cities provide creative workers and cultural industries in particular with
tangible and symbolic benefits to agglomeration. The role which OCAD U plays (in terms of
physical plant and events), and is perceived to play (according to media representation as well as
indicated during interviews) is a useful and meaningful aspect of the university’s cultural impact
on Toronto. Moreover, OCAD U’s connection to the larger city and cultural communities within
it is an asset for the university and potential resource for its students and alumni.
The following section of the report presents a discussion of the research findings organized
thematically. The major thematic areas of cultural impact that are discussed in turn below
include discussions of the arts and cultural milieu, cultural space, and conclusions and
recommendations.
OCAD University and the Arts Scene
Our approach to assessing OCAD University’s cultural impact is to capture the institution’s
effect on three distinct but related communities within Toronto: the arts and cultural milieu (the
Arts Scene); various cultural industries (i.e. Creative Work); and, the urban environment (i.e.
Cultural Space). These three key communities appear throughout the cultural analysis; they
reflect key themes in relevant literature; represent groups of core, content and creative cultural
workers within Toronto we’ve interviewed; and is the thematic basis on which our research
findings have been organized and presented.
A key contribution of OCAD University to the collective artistic community in Toronto is that it
produces – through its selection of students, cultivation of their talents, and specific training of
technical skills – future cohorts of artists and creative producers. OCAD University is the
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primary institution that attracts, anchors and socializes artists and designers locally. Given the
subjectivity and diversity of art and design fields, assessing cultural impact of OCAD University
in terms of the stature of the artists it trains and the importance – whether dollar value or
aesthetic content – of their works is beyond the scope of this study. However, a contribution of
this study is to qualify the reputation of OCAD University based on our research responses.
While the university also provides physical space, its faculty and students produce works and
curate shows, the core contribution of OCAD University to the arts community is the cumulative
indirect impact it has as an arts school. This should be foregrounded as a strength of OCAD
University, since it is unique among Toronto’s cultural institutions in this capacity.
While other institutions and intermediaries in the Toronto area offer some services and activities
similar to those of OCAD University (e.g. Ryerson and York University offer arts programs;
Toronto Arts Council and Artscape offer professional development guidance for emerging
artists), only OCAD University specializes in growing a broad base of art and design talent at a
high caliber. This legacy and commitment to visual arts training is crucial; it is the cornerstone of
OCAD University’s reputation and perceived unique value proposition among Toronto’s broader
community of cultural and creative workers. The prominence of OCAD University as a postsecondary institution uniquely focusing on the visual arts is relevant within Toronto’s broader
arts scene, which has a significant concentration of Canadian visual artists and the third largest
critical mass of designers in North America.
Without question, OCAD University is well-known, and perceived positively among Toronto’s
active artists, cultural producers and broader creative industries. A key finding is that there is
strong institutional brand-recognition. Awareness of OCAD University as an institution is
almost universal, with 97% of respondent being at least somewhat familiar with OCAD
University.
When asked to described OCAD University and what it does, most respondents did so in very
basic terms. The vast majority of responses repeated key words such as “art and design” (50%)
or “arts education / training” (45%), which are reflected in the institution’s former, and
longstanding, name: Ontario College of Art and Design. The fact that the open-ended and
unprompted descriptions so closely adhere to the university’s name suggests that despite strong
brand-recognition (akin to market penetration), and a strong general understanding of OCAD
University’s main areas of focus, the depth of knowledge about OCAD University remains
somewhat superficial.
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Figure 14 - Description of OCAD University (Word Cloud)
It is noteworthy that while comments reflect a deeper knowledge of OCAD University were
sparse, two themes emerge from them. First, the uniqueness of OCAD University as an
institution in Toronto was apparent in 14% of the comments. Second, unprompted comments
qualifying OCAD University’s reputation were overwhelmingly positive (11%). The lack of any
negative comments in this section is a strong indicator that, while familiarity may be somewhat
superficial, it tends to be favorable.
This is relevant because it demonstrates that OCAD University is established among Toronto
core cultural institutions. The fact that it is top of mind and positively perceived, albeit somewhat
superficially, across the arts community presents an opportunity for OCAD University to take
advantage of its significant brand recognition to communicate its strategic value. In other words,
this strong awareness but vague understanding, presents OCAD U with the opportunity to focus
and message-out what it stands for and contributes in a cultural sense to practicing art
communities, creative industries and the city’s cultural vibrancy, among other strategic areas
outlined by OCAD U’s current strategic plan. It is very likely that there is latent interest among
Toronto’s cultural community for more specific messaging about OCAD University. Should
OCAD University undertake new, or reinforce existing, strategic communications and publicity,
the potential for positive impact and traction with those key messages is high.
Artistic Training
Overall, alumni reported strong satisfaction with their artistic training. We ran our own analysis
of OCAD University’s institutional SNAAP data to understand how alumni value the artistic
training they received while at OCAD University. Alumni across all programs felt that OCAD
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University contributed greatly to their artistic technique. In fact, 91% of SNAAP respondents
noted that OCAD University had either “very much” (55%) or “somewhat” (36%) acquire or
develop artistic technique – this skills acquisition proved beneficial for these alumni, as 87%
noted that artistic technique was either “very important” or “somewhat important” to their
current occupation. Most alumni feel that their artistic technique is important for their
professions, while fewer BDes. alumni rated artistic technique very highly (with 39% of
respondents noting their experience at OCAD University “greatly contributed” to improving
their artistic technique). In addition to technique, BFA alumni most used opportunities to present
artistic work through OCAD University. This reinforces the previously stated argument that
OCAD University makes a major contribution to the local arts scene through its training.
Perceived Cultural Relevance
In order to quantify to some extent the cultural relevance of OCAD University to various spheres
– specific fields of cultural work, a broader arts scene, and the city as a whole – we put the
question to the cultural community through our survey. In all spheres, OCAD University is
deemed culturally relevant by well over 50%. Notably 81% of respondents perceive OCAD
University as especially relevant to the local arts scene and creative economy. This is the same
figure – 81% – for those who indicated that OCAD University is especially relevant for the City
of Toronto.
Figure 15 - OCAD Perceived Relevance, by Category
On a scale from 1-to-5 (with 1 being of “no relevance,” and 5 being “essential) how relevant
is OCAD University to the following:
This is relevant because it strongly supports arguments for OCAD University having significant
cultural impacts locally. Despite the difficulty in identifying and capturing cultural impact, there
is clear evidence that the cultural community recognizes and values the contributions of OCAD
University to a thriving cultural sector, arts scene, and creative economy. Similarly, OCAD
University is a key and relevant cultural institution which benefits the city overall.
Respondents were asked to identify the areas in which OCAD University’s made the significant
contributions – with answers subsequently coded into categories as outlined in the SNAAP
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survey.13 With respect to three spheres considered in this section, the categories ranked as
follows: 1st arts community; 2nd creative industries; 3rd urban landscape. This reinforces
findings that OCAD University is extremely relevant to the city and its cultural sector.
Table 6 - Areas of OCAD University Contribution
Category
Arts Community
Creative Industries
Urban Landscape
Response Frequency (%)
83%
59%
36%
When prompted for open-ended responses to identify contributions that OCAD University makes
of significance to Toronto’s arts and culture scene, a range of specific contributions were
mentioned. There was some repetition among responses, which foreground some key
contributions. For instance, OCAD University as a key place for artists to train, practice and
meet each other was evident in multiple comments.
"[OCAD University] is hub for artists.”
“[OCAD University] is a place for artists to become artists.”
[OCAD University] produces the people that contribute to the sector.”
“[OCAD University] produces a great quality of artists: they provide an excellent
education”.
Additional key contributions mentioned were about OCAD University’s physical presence in its
main building, OCAD University’s strong reputation, which bring artists to town, and their role
in the community as a sponsor. Taken together, the most significant contributions identified by
the community relate primarily to OCAD University’s impact in fostering a close-knit
community of well-trained artists and cultural producers, as well as its specific impact in terms
of arts and design education.
Although fostering local networks artistic training are of course important factors of cultural
impact, they can also be a double-edged sword, as each poses a danger that threatens to limit
OCAD University’s broader cultural impact. With respect to networks, one theme that arose in
responses to both surveys, as well as alumni experiences, was that OCAD University network is
particularly tightknit. The perception that OCAD University’s networks are difficult to access or
penetrate is associated with a range of outcomes. In terms of student success and alumni
satisfaction, an overly-tight cultural community can result in poor mentorship since those who
13
Some of these categories included: Cultural Sector (e.g. government, non-profit, community development); Arts
Community (e.g. practicing artists – visual, performing and musical arts – curators, venue or gallery owners, arts
advocacy and education); Creative Industries (e.g. firms and professional associations in film, television, digital
media, publishing, music, design, advertising, architecture); Urban landscape (e.g. architecture, public art, vibrancy
of neighbourhood).
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succeed may take for granted the supports they accessed, while those who are disconnected from
these supports may perceive a lack of support instead of issues of accessibility. More
significantly in terms of OCAD University’s cultural impact in the broader cultural community,
where OCAD University is perceived as being insular and apart from the broader arts
community, this poses threats to the ability of OCAD University to get recognition for the
cultural connections it undertakes in the community, whether that be through sponsoring events,
making public art, or service on the boards of cultural organizations.
A similar concern was noted with respect to skills training. A theme that arose in some employer
anecdotes that may limit OCAD University’s cultural impact was concern that some of the skills
obtained from the established traditional art programs on which industry depends may be
overshadowed by new design emphasis in curricula. A specific example of this relates to the
ceramics program. As well, employers mentioned other post-secondary institutions including
Sheridan College, Ryerson University and York University, as peers and competitors for training
new arts and design talent. This is a relevant clause to the aforementioned strength of OCAD
University within the arts school niche. The relative position of OCAD University among its
peers is not fixed, and can remain, rise or fall in the future, especially as art and design fields
shift.
Despite these issues of potential concern, the positive recurring themes reiterate and support key
findings previously mentioned and anticipated from the relevant literature. Even the less frequent
comments, like those about physical presence and sponsoring events, gesture to the third theme
of urban landscape in terms of how OCAD University is culturally animating physical space.
Cultural Space
A third key theme where we anticipate OCAD University to have cultural impact relates to the
role it plays in shaping physical spaces. A main line of the policy and academic literature
suggests that the arts contribute to revitalization of big and small urban spaces, both in terms of
cultural artefacts – such as public art installations and architecture – as well as through activities
which animate social space and generate the cultural vitality of places. In keeping with the
observed data from our study, the discussion of key findings here will focus on the physical
spaces and architecture of OCAD University.
The most frequently cited and significant contribution OCAD University has on the urban
environment in terms of cultural spaces is undoubtedly the iconic architecture of their main
building. Based on survey data, comments about physical plant amenities such as dark rooms,
and concern about the building being overcrowded and in disrepair were very much the minority.
Overwhelmingly, OCAD University’s main building was recognized as a major contribution and
significant cultural asset for the university and the city alike. The iconic building is visually
referenced in the OCAD University brand, logo and promotional materials; it is also featured in
tourism and promotional materials of the broader city.
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Figure 16 - OCAD University Main Building: 100 McCaul St., Toronto, ON
OCAD University’s main building was the most frequently remarked upon contribution to
physical cultural space. Below are some examples of typical comments.






“I love the building. Integral part of their brand. One of the few buildings in the city
that's been on the cover of architecture magazines. ”
“Great architecture.”
“I love the building. Very noticeable. Artistic.”
“Building is very interesting; definitely adds to the appeal of the school and helps
Toronto seem more committed to the arts”
“Great building. Best contribution.”
“Landmark that people can recognize and identify with. Impossible to ignore. Really is a
unique building.”
The massive investments in this “starchitecture” seems to have paid dividends; the unique
building places OCAD University among other major cultural institutions – such as the Art
Gallery of Ontario, the Royal Ontario Museum, and the Four Season’s building of the Canadian
Opera Company – in media discourse Toronto’s cultural renaissance.
There is apparent concentration and clustering of OCAD University physical plant assets in
proximity to the Art Gallery of Ontario (AGO). A tendency towards cultural clusters is apparent
in policy and academic literature and observed across cultural industries at both a metropolitan
and neighbourhood scales. In other words, while certain cities (e.g. New York fashion, Nashville
music) become synonymous with the cultural products it is known for; so too smaller urban areas
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become associated with concentrations of cultural sites and amenities (e.g. distillery district,
Queen West, Liberty Village).
While the research does not show any reputational association of a visual arts cluster, the close
proximity between OCAD U and the AGO was noted. When small scale cultural clusters emerge
organically, this is often attributed to affordability (and sometimes zoning) of space on the one
hand, and the benefits of being close by other creative workers and firms which service cultural
production (e.g. printers, art suppliers). The latter might be relevant for OCAD University, since
several connections between OCAD University and the broader community were transactional;
in other words, goods and services that sell to art students (e.g. art shops) or which rely on art
student output (e.g. galleries and shows). Regardless of the reason why the pattern of spatial
concentration has arisen, the fact of the matter is that it exists and was mentioned by some of our
survey respondents in contrast to Ryerson University. While OCAD U was perceived as being
centered and anchored downtown with close connection to the AGO, Ryerson was perceived as
being more spatially dispersed throughout Toronto and having broad engagement with various
urban spaces. This was a relatively minor feature in the data, but raises themes of spatial
concentration and connection to urban space which OCAD University may wish to reflect on.
Contribution to Cultural Vitality
It is noteworthy that there was no direct mention or connection drawn between OCAD
University contributing to a cultural vibrancy in the immediate neighbourhood or city, beyond
very frequent mention of the actual physical building (architecture, historical relevance of
building site, and as a venue for installation work and Nuit Blanche). This is not to suggest that
OCAD University makes no contribution to cultural vitality; rather, it seems that, despite artistic
contributions to public art and parks, OCAD University’s broader impact on cultural vibrancy
does not appear to be at the forefront of respondents’ thinking. In fact, several respondents noted
this seeming lack of contribution to cultural vitality:
"[OCAD University] does not directly impact the area, culturally… other than the great
building.”
“[OCAD University] is good as a campus space, but the school isn’t really good at
integrating itself with, or impacting, the broader arts scene.”
This suggests that OCAD University is perceived as a passive site (i.e. building, stage) not an
active player (i.e. institution, animator) in how it contributes to the cultural vibrancy, activities,
and identity of its immediate McCaul/Queen neighbourhood and the City of Toronto. The
salient point here is that OCAD University is regarded as a neighbourhood asset, but not
necessarily a city asset – a factor that may create problems in terms of generating long-term civic
support for OCAD University initiatives.
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Conclusions and Recommendations
The cultural impact study has found that OCAD University is a significant cultural institution
that contributes in various ways to Toronto’s arts community, creative economy, and urban
environment.
OCAD University’s most significant contribution to the local community of core artists and
cultural producers is twofold. Firstly, as an established cultural institution with a positive
reputation for strength in visual arts education, OCAD University confers to the city and artistic
community the stature of its reputation. Secondly, OCAD University is recognized by the local
arts community for its important, indirect contribution, specifically in terms of its high-quality
training of new visual artists. These factors, positive though they may be, also possess limiting
features. Although OCAD University has strong brand-recognition, the recognition borders on
superficial, and the institution is often strongly associated as a “traditional arts school.” This
conception that may limit the institution’s ability to maintain its impact as demand shifts towards
more design-oriented fields – an area in which OCAD University does not possess a competitive
advantage over peer institutions.
The main contribution of OCAD University on urban cultural space is through the university’s
main building, which is OCAD University’s most widely recognized key cultural asset. The
strength of the building – both as a physical cultural space and brand cue – are crucial to the
university and its impact on the community. However, the spotlight emphasizing the main
building’s architecture may risk casting into shadow OCAD University’s other physical assets
and community outreach activities, and threatens to silo the institution, geographically and
culturally, to the gallery-heavy area in which its main campus is located. To prevent this, and
further expand its cultural impact, OCAD University must proactively seek to offer greater
contributions to the cultural vibrancy of the Greater Toronto Area, and avoid the tendency to be
perceived as a passive actor in the cultural sector, avoiding the tendency to associated OCA
University as “the arts school” due to its physical proximity to prominent galleries, such as the
AGO.
Beyond its impact on the skyline, OCAD University could, for example, invite the community to
explore its famous building through events like “Doors Open Toronto” which featured many
cultural buildings and architecturally significant edifices. Given that programs like Doors Open
now have interactive maps of their features sites, participating in programs such as this would
leverage an existing asset – the iconic building that OCAD University invested over $40 million
in building and which is top of mind for many respondents when asked about OCAD
University’s cultural contribution to Toronto – and literally put OCAD University on a map for
tourists and culturally-minded citizens. Evidence of participation in events such as this as well as
the ensuing attendance figures, are measures that could potentially better demonstrate OCAD
University’s cultural relevance to the broader city.
Overall, this study finds that OCAD University is a core cultural institution in its own right, and
has experienced a fair degree of success toward achieving the priorities identified in its strategic
plan, particularly as relates to its reputation as an art, design and policy leader and community
builder. It does, however, face significant challenges in maintaining and expanding its cultural
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impact. These challenges present opportunities for OCAD University to connect itself as an
active node of cultural impact.
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4. ECONOMIC IMPACT ANALYSIS
Introduction
The economic impact portion of this study seeks to satisfy one main objective: to analyze OCAD
University’s economic impact in a local context, including relevant data on current students,
alumni activities, staff, visitors and tourists, and physical plant.
In a more detailed sense, however, a number of research lines lay at the heart of this section, and
are worthy of further exploration. These lines of research include:

An assessment of the specific economic impact wrought by OCAD-organized public
events and galleries

Annual spending patterns of OCAD students, faculty, and staff

Information on OCAD alumni, such as their business ventures, and spending
contributions

Capital planning and expected costs, including renovations to current physical plant
OCAD University has an impact on the local, regional, provincial and national economies that
extends beyond the direct spending by the institution. A full economic impact analysis estimates
both the gross output and the value that is added to the economy as a result of this institution.
The economic impact analysis is comprised of a number of features, including: estimates of the
tax revenue (at the municipal, provincial and federal level), employment (including selfemployment) earnings, and the number of jobs created from the operations and activities of
OCAD University.
This analysis will not only consider the direct spending by the institution, its students and its
faculty and staff, but also the economic activity that is caused by that spending. For the purposes
of this report, we define “direct spending” as the total spending of the institution itself, including
payroll costs. This also includes the additional spending by students caused by the attendance at
OCAD University. “Indirect spending” captures the impact of the direct spending on firms and
other economics agents in the region, holding the spending behaviour of households constant.
Third, “Induced spending” is calculating by allowing the spending of households to change due
to the increased spending, and capturing the effect on the economy.
Direct spending by OCAD University on operations, research, ongoing maintenance and capital
projects is of course important, but only represents a part of the overall economic impact. The
indirect impacts, which represent changes in the behaviour of suppliers to OCAD University
(which includes employees of the institution), students who relocate to attend — particularly
international students, is also examined. As a cultural destination, OCAD University attracts
visitors to the region, and their spending is a part of the indirect impact. The actions of alumni,
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particularly those who start businesses and create new jobs can also be considered an indirect
impact.
The direct and indirect impacts are used to estimate the induced impact from the institution,
based on Statistics Canada’s Input-Output model. Also, a multiplier effect was used to capture
the effect of those dollars added to the economy as they circulate through it.
The resulting picture of OCAD University’s economic impact is multi-leveled
(local/regional/provincial/national), multi-dimensional (output/tax revenue/earnings/jobs
created), and goes beyond the direct impact to show how the institution benefits the broader
economy.
Methodology
The economic impact portion of this project involves data collection and analysis. We obtained
this data from a variety of sources. We obtained the annual income data from Statistics Canada,
from the most recent Census and from the Labour Force Survey. To determine student
expenditure, we drew data from a variety of sources, including the State of Student Aid (SOSA)
reports, the Survey of Labour and Income Dynamics (SLID), data form the Canada Mortgage
and Housing Corporation (CMHC), as well as Statistics Canada’s reports on Tuition and Living
Accommodations Costs (TLAC). Additionally, we have received internal data from OCAD
University in the form of their results from the Strategic National Arts Alumni Project (SNAAP).
We also analyzed the both the code book and policy report for OCAD University’s 2011
participation in SNAAP. This SNAAP data, along with the data sources mentioned in the
previous paragraph, formed the evidentiary basis for analyzing and determining OCAD
University’s economic impact
To calculate this total economic impact, the results of an Input/Output model are used to estimate
the ways that this spending moves through the economy. Statistics Canada estimates input-output
models for each province and provides multipliers based on this model that measure how
spending in a particular industry or category makes its way through the economy.
For the purposes of this analysis, the most recently estimated multipliers (from 2010) are used.
These multipliers are estimated at the provincial level only, so an estimate of the economic
impact on the Greater Toronto Area (GTA) along is not possible.
This section of the report is divided into three major sources of spending that result from OCAD
University. The first source considers direct spending by the institution, including faculty and
staff spending, other sources of direct spending, and a summary of total institutional spending.
Next, we examine spending by current students enrolled at the institution. The third spending
source conserved in this section documents and reports graduate earning premiums. This section
concludes by calculating the total economic impact as a result of the direct, indirect, and induced
spending as a result of OCAD University.
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Institutional Expenditure
Faculty and Staff
In the 2011-12 academic year, OCAD University paid $41 million in salaries and benefits to its
faculty and staff. Total faculty and staff numbers are unavailable for that year, but in 2012-13
this represented 115 full-time faculty and part-time faculty equivalent to 143 full-time position
and graduate teaching assistants, equivalent to 16 full-time positions. Thus, staff totals equal 377
positions, and represent the equivalent of 234 full-time positions.
In terms of geographic location, these staff members generally live in Toronto, or the
surrounding area. In fact, eighty-four percent of faculty and staff live in postal codes beginning
with ‘M’ (Toronto), and 11% reside in areas with postal costs that begin with ‘L’ (the “L” postal
code designation represents a large portion of southern Ontario – stretching as far south as Port
Colborne, and as far north as Penetanguishene).14 This means a total of 95% of the faculty and
staff live – and therefore Ontario, representing the indirect effect of this type of spending of
OCAD U faculty and staff. If the increased household spending created by these positions—the
induced impact—is taken into account, a total of 63 FTE positions are created in the province.
In dollar terms, the $41 million in faculty and staff salary and benefits becomes $49 million
when indirect spending is included. Accounting for increased household spending, the total of
direct, indirect and induced spending is $65 million for the province.
The multipliers also provide an estimate of the taxes paid due to this spending $750,000 in direct
taxes, $1 million when indirect spending is added and $2 million when induced spending is
included. This would include taxes at all levels of government.
Direct Spending
In the 2011-12 academic year, OCAD University spent $24 million on direct expenditures (i.e.
not including faculty and staff salaries and benefits).15 With respect to job creation, this
spending created an estimated 155 full-time jobs directly, and, when indirect spending is added,
resulted in 187 FTE positions. In addition, when the induced spending of households is
considered, a total of 238 FTE positions are created by OCAD University’s direct spending.
The $24 million in direct spending increases by $4 million when one considers indirect effects –
such as the increased spending of university suppliers. The additional spending, however, has a
snowball effect, as extra spending in turn causes others to spend more. When this additional
spending is calculated and added, the total direct spending of OCAD University reaches $38
million.
For a map of the geographic areas covered by ‘M’ and ‘L’ postal codes, please see Appendix E.
Since the Statistics Canada Input-Output model estimates a multiplier for the university sector, this multiplier is
the correct one to use for this spending as well.
14
15
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In terms of tax revenue, the direct spending by OCAD University generates $400,000 in taxes at
all levels of government. This figure increases to $600,000 when indirect spending is included,
and the total climbs to $1.2 million if induced spending is also included.
Total Institutional Spending
As an institution, OCAD University spent $65 million during the 2011-12 academic year. When
one takes into account the impact of indirect spending, the total institutional spending figure
increases to $77 million. When induced impact is considered, the resultant total institutional
spending of OCAD University is calculated at $103 million.
This direct spending has significant impact on job creation. Total institutional spending of
OCAD University in the 2011-12 academic year created 389 full-time jobs (or the equivalent in
part-time positions). Adding indirect impact increases the job-creation total to 470 FTE
positions. When induced spending is considered, the total job-creation of OCAD University is
535 full-time equivalent jobs.
This total spending by the institution results in direct taxes of $1.15 million to all levels of
government. The consideration of indirect spending increases that total to $1.6 million. When
induced spending is taken into account, the total tax revenue generated by OCAD University is
$3.2 million.
This section has covered the spending by the institution itself. The remainder of this document
moves to examine the economic impact that the institution’s presence has on the economy.
Student Expenditures
The economic activity of students represents an important component of the overall impact of the
institution. The tuition and other fees paid by these students to the institution are already
accounted for by the institutional spending above, so these estimates will not contain those
amounts. Rather, this section considers and reports the impact that current OCAD University
students have on the economy. OCAD University has over 14,000 alumni, with 58% of these
living in the Greater Toronto Area.16
To properly use the available multipliers, student spending must be allocated across the industry
categories. For this section, a profile of student spending was constructed using two sources: the
OCAD University estimates of the cost of attendance and the Strategic National Arts Alumni
Project survey, analyzed by HESA, for the spending of GTA area students.
The spending amount and spending mixture of students varies considerably, especially
depending on whether a student chooses to live with his or her family while attending university.
In order to accurately capture the true economic impact of OCAD University student spending,
16
It is important to note, briefly, that calculating the spending of current students is slightly more difficult to
measure than the direct spending of institutions, as only estimates of student spending are available.
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the total spending of students who live with their family cannot be fully incorporated into the
analysis. In the case of those who live with their family, only additional spending can be
included. For example, if a student chooses to live with their family while attending university,
“normal living expenses” - such as rent, food, utilities – cannot be included in an analysis of
economic impact, as these expenditures would be incurred regardless of whether that student was
enrolled in university. That said, some aspects of student expenditure – such as transportation
and supplies – that are independent of “normal living expenses,” and are necessary in order to
attend OCAD University can be included in the analysis. This caveat is also true of students who
live on their own in within the Greater Toronto Area.
According to internal institutional sources, OCAD University has a count of 4,586 current
students. As outlined in the Impact of OCAD University: Contributors to the Creative
Community report, these students create a total spending figure of $28.4 million.17 Taking into
account the caveat mentioned in the previous paragraph regarding total at-home spending, vs.
additional at home spending, we estimate that $20 million of that student spending figure can be
counted towards the OCAD University’s economic impact.
In order to assign a multiplier to student spending, figures needed to be classified into industry
categories. To do so, HESA used expenditure information for home and away students based on
figures calculated from OCAD University’s institutional report, as well HESA’s analysis of
student expenditure data. The result allowed us to assign a proportion of student income to each
category. The industry categories used for this part of the analysis are as follows:

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Clothing and clothing accessories stores
Banking and other deposit credit intermediaries
Arts, Entertainment and Recreation
Food and Beverage Stores
Health and Personal Care Stores
Electronics and Appliance Stores
Software Publishers
Periodical, Book and directory publishers
Office Supplies
Telecommunications
Urban Transit Systems
For students who live away from home, we assume that some additional spending will be
incurred, beyond spending directly related to enrolment at OCAD University. For the purposes
17
This figure was calculated using internal data from a recent OCAD University report. The report estimates that
the cost for students living at home is approximately $3,200 per student, which, when multiplied by the assumed
figure of students living at home, equals a student expenditure figure of $10.5 million. In addition, OCAD
University staff estimates that students living away from home spend approximately $13,700 per student, per year.
Multiplying this figure the number of students assumed to live away from home yields a student spending total of
$17.9 million For a detailed breakdown of these figures, see: Laura Wood, Impact of OCAD University:
Contributors to the Creative Economy, July 2013, pg. 13.
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of this analysis, we included student expenditure figures that are allocated in the following
categories:


Dry cleaning and laundry services
Lessors of real estate
The following table represents absolute spending for OCAD University students living at, and
away from, home. These absolute figures were adjusted using proportional allocation.
Figure 17 - OCAD University Student Spending (in $000)
When adjusted for proportional expenditure, students living at home spend $3.57 million, which
became $5.3 million when the indirect spending is included. Adding induced spending brings the
total to $6.6 million. This student spending had an impact on job-creation, as students living at
home created the full-time equivalent of 28 jobs – 38 when indirect spending is included. Adding
induced spending brings the job-creation to 45 jobs. With respect to generating taxation revenue,
students living at home pay an estimated $120,000 in direct taxes, $213,000 when indirect
spending is included and $303,326 with induced spending.
As can be expected, students living away from home have a higher total spending. OCAD
University’s estimates for students living away from home are $17.9 million, and $15.9 million
of that can be counted towards economic impact. This direct spending creates the equivalent of
93 full-time jobs in the province. With the inclusion of indirect effects this figure rises to 137
jobs; the total job-creation figure increases to 162 jobs when induced effects are accounted for.
The indirect effect of this student spending is $23.1 million when added to the direct spending.
Adding induced effects brings this to $27.7 million. The student spending, attributable to OCAD
University results in $1.8 million in direct taxes, $2.1 million when indirect effects are included,
and $2.4 million with induced spending.
The total economic impact of current student spending at OCAD U is $20 million in direct
spending -- $28 million with indirect effects and $34 million with indirect and induced effects.
This created 121, 175 and 207 jobs when direct, indirect and induced inputs are considered.
Impact of Graduates Earning Premiums
An important part of the economic impact of OCAD University is the economic contribution of
its alumni. This must be approached somewhat differently than the other impacts presented in
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this document. In economic terms, education increases the human capital of students—
improving their earnings compared to those who do not achieve the same level of education.
While the mechanism by which education improves earnings (and presumably labour
productivity) is a matter of debate among economists, the empirical evidence shows that
graduates of PSE programs earn more—in general—than those with less education.
For the purposes of this economic impact assessment, we consider the earnings of all currently
working alumni. OCAD University cannot claim all the earnings of their graduates as part of the
economic impact, as those individuals would still be able to earn if they had not graduated from a
PSE institution.
Instead, we capture the earnings premium from having a PSE education and apply that to the
number of graduates from the institution. OCAD University has over 14,000 living graduates,
and the majority of them live in the GTA. The earnings premium is the difference between what
the individual would earn with a lower level of education and the one the level they did
complete. Since we do not observe these two values for any one individual, we calculate an
average earnings premium for various gender and age groups.
The breakdowns by gender and age are particularly important. The earnings patterns of men and
women are quite different, as are their returns to education. Overall earnings and the education
premium also tend to change over time as workers gain experience and the opportunity to put
their skills to use. The number of graduates can be broken down by these age and gender
categories based on historical information from OCAD U. The student’s year of graduation is
used to assign them to one of these age categories: 25-34, 35-44, 45-54 and 55-64.
The estimates of the earnings premium are based on the 2006 census, adjusted for inflation. The
2006 census was chosen because of the replacement of the census with the 2011 National
Household Survey.
The census contains information on the earnings of Ontarians with different levels of education.
There are also counts of the number of people with these levels of education. This allows us to
determine the proportion of Ontarians in each gender and age group that hold a particular type of
education credential. This is combined with the earnings for individuals with that credential to
produce an average for that group. We compare the average earnings to the earnings of
Bachelor’s degree holders to produce an average premium for each age and gender group. Please
see the table below for the premium for each group, in 2011 dollars.
Table 7 - Average Earnings Premium
Below
Bachelor's
Sex
females
HESA
Ages
25 to 34
years
35 to 44
years
45 to 54
Bachelor's
Premium
$33,972.48
$39,172.56
$5,200.08
$39,986.34
$42,004.37
$48,548.10
$53,346.52
$8,561.76
$11,342.15
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Report on Institutional Impact and Market Research
males
years
55 to 64
years
25 to 34
years
35 to 44
years
45 to 54
years
55 to 64
years
$39,689.62
$51,663.25
$11,973.63
$44,504.70
$46,422.27
$1,917.57
$54,804.93
$60,318.13
$5,513.20
$58,288.21
$65,654.67
$7,366.46
$53,050.91
$63,397.96
$10,347.05
With these premia we can consider a total economic impact of OCAD University alumni on the
province.
After graduation, not all students will remain in the province. From the 2011 SNAAP survey,
58% of graduates remain in the GTA and 69% remain in Ontario. We do not consider the 31%
that do not remain in the province as part of this assessment.
The survey of graduates allows shows that 70% of the alumni are employed full time and 22% of
alumni are employed part time. These employment rates are used to adjust the amount of
economic impact.
After these adjustments, the total direct impact of the alumni that remain and work in Ontario is
$137.2 million.
The total impact of OCAD University alumni does not stop there, however. The additional
spending power of the alumni creates approximately 137 additional jobs.
The next stage of the economic impact of alumni is to determine the impact that increased
alumni spending induces. These induced effects increase the number of jobs to 152. They also
contribute $248.5 million to the economy and $7.4 million in induced taxes.
Total Economic Impact
This document has presented a preliminary look at the economic impact of OCAD U on the
economy of Ontario. While we can assume that a large proportion of this impact will occur in the
Greater Toronto Area, information on the multipliers at the municipal or regional level is
unavailable.
This section will discuss the total impact of both spending by OCAD U through payroll and other
spending and by the current students at OCAD U. The first set of totals presented here does not
include alumni spending.
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The direct spending due to OCAD U is $85 million. When the indirect effects are considered—
that is, when the increased spending of suppliers is accounted for – the total rises to $105
million. When the actions of households that receive this additional income – and spend more –
are considered, the induced impact, the total is $137 million.
This spending due to OCAD U increases the tax revenue collected by all levels of government by
$3 million directly, $3.9 million with indirect impact and $4.9 million with induced effects.
Finally, the spending described here will create a number of jobs – described here as the number
of full-time equivalent positions that can be traced back to OCAD U.
Direct spending by OCAD U and current students results in 510 additional jobs in the province.
When indirect spending is included that rises to 591 jobs and to 631 jobs when induced effects
are included.
When the total alumni spending attributable to OCAD U is included, direct spending increases to
$260.9 million, indirect spending is $280.9 million and induced spending is $455.7 million. The
total induced taxes are $14.4 million. The total jobs created directly becomes 686, 767 jobs
created when indirect spending is included and finally 826 jobs when induced spending is
included.
Table 8 - Total Direct Economic Impact
Jobs
Income
Taxes
Direct
Spending
155
$24,000,000
$400,000
Jobs
Income
Taxes
Direct
Spending
187
$28,000,000
$600,000
Jobs
Income
Taxes
Direct
Spending
238
$38,000,000
$1,200,000
HESA
Direct Economic Impact
Faculty and
Staff
Current
234
121
$41,000,000
$20,000,000
$750,000
$1,800,000
Indirect Economic Impact
Faculty and
Staff
Current
234
175
$49,000,000
$28,000,000
$1,000,000
$2,100,000
Induced Economic Impact
Faculty and
Staff
Current
297
207
$65,000,000
$34,000,000
$2,000,000
$2,700,000
Students
Alumni
176
$175,900,000
$40,500,000
Students
Alumni
176
$175,900,000
$40,500,000
Students
Alumni
195
$248,500,000
$44,900,000
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5. DIGITAL FUTURES – TARGET MARKET PROBE
Introduction
In an attempt to remain at the forefront of relevant programming, OCAD University recently
constructed a new program: Digital Futures (DF). The DF program is marketed as a highly
collaborative, cross-disciplinary program, which provides students expertise in art, design,
science, and enterprise.
In the establishment of this program, OCAD University has set certain targets with respect to
enrolment figures. To date, however, OCAD University has yet to achieve these targets. As
such, the University is interested in probing relevant target markets in order to better understand
student perceptions of Digital Futures, specifically, and perceptions of OCAD University, more
broadly. This information will provide OCAD University with meaningful insights with which
to achieve higher enrolment rates.
Methodology
For this section of the study, we conducted in-depth, qualitative telephone interviews with
respondents, all of whom satisfied predetermined demographic criteria. Successful respondents
needed to be between the ages of 18 and 23 years old. In addition, all respondents needed to
express interest in design and/or technology and/or digital media fields – the objective here was
to find respondents most likely to enrol in a DF-type program at a Canadian university or
college.
Respondents were recruited using a variety of methods. Initially, HESA staff conducted inperson recruitment by visiting several HackLabs throughout Toronto. Returns from this
recruitment method, however, were minimal, as the type of individual attending HackLab events
tended to be twenty-five years old, and above, thus falling outside the target age group.
Subsequently, a mixed-methods recruitment approach was adopted, involving: targeted emails to
organizations with a design and/or technology and/or digital media focus, and whose clientele fit
the desired age category; calls to high schools with design and/or technology and/or digital
media classes; and, a Facebook ad to recruit interested individuals via an online registration
portal.
The study set a target quota of twenty respondents, which was met. Although this number
inhibits drawing quantitative insights, the nature of the study relied more heavily on qualitative
responses; as such, twenty respondents provided enough qualitative material with which to draw
conclusions.
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The instrument for this section of the study was devised by HESA staff, and approved by OCAD
University. The instrument not only probed a respondent’s specific knowledge of the DF
program, but also explored respondents’ decision-making processes when choosing a particular
institution for postsecondary study. At the same time, a second objective of the instrument was
to explore why respondents might not immediately think of OCAD University when considering
enrolment into a DF-type program.
These key informant telephone conversations lasted roughly 30-45 minutes in length, and
although they followed a predetermined and preapproved interview instrument, conversations
moved into a variety of areas, as interviewer (HESA Research Associate, Mark Tagliaferri)
explored a number of issues with respect to OCAD University and Digital Futures program, at
his discretion.
Four broad questions structured the logic and organization of the instrument:




What factors influence student decision-making when choosing an institution for a
design, technology, and digital media-related program?
What is the perception of OCAD University amongst students interested in design,
technology, and digital media fields?
What do students currently know about the Digital Futures program? What would they
need to know before enrolling in such a program?
Why might students choose programs at institutions other than OCAD University?
Respondent Characteristics
All respondents were between 18 and 23 years old at the time of their interview. The average
age of respondents was 18.25 years old. More males enrolled in the study than did females: 15
males participated, while five females were recruited for the interviews. All respondents were
either currently enrolled in a college or university program related to design, technology, and/or
digital media, or planned to enroll in such a program within the next two years. All respondents
currently resided in the Greater Toronto Area.
The Decision-Making Process
There is a wealth of literature exploring the push and pull factors that motivate students to select
a particular institution over another.18 Our research explored this topic, with an eye towards
understanding the institutional decision-making processes amongst students specifically
A comprehensive examination of this topic, including a literature review, is Torben Drewes and Christopher Michael’s “HOW
DO STUDENTS CHOOSE A UNVIERSITY?: An Analysis of Applications to Universities in Ontario, Canada.” The authors
used a unique set of micro-data on university applications to examine the role pled by institutional attributes in choices made by
graduating high school students between seventeen universities in the province of Ontario. The authors found that (in order of
importance): location, financial aid, faculty strength, and non-academic student services are the factors that most determine the
institution to which a student chooses to apply. Torben Drews and Christopher Michael, “HOW DO STUDENTS CHOOSE A
UNIVERSITY?: An Analysis of Applications to Universities in Ontario, Canada,” Research in Higher Education, vol. 47, no. 7,
November 2006, 781-801.
18
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interested in design, technology, and/or digital media fields. The objective was to determine if
students with these particular interests conform to the standard literature on decision-making, or
if this subset of students have different motivating factors when choosing to attend an institution.
Our research largely confirmed the existing literature, which cites location, financial aid, and
faculty strength as key motivating factors in the student decision-making process. In this study,
respondents overwhelming hewed to these traditional motivating factors in the institutional
decision-making process. When asked to offer the “most important factor when thinking about
where to attend university or college,” respondents listed the following, in order of response
frequency:




Programs offered by the institution;
Location of institution;
Job opportunities after graduation; and,
Financial aid.
Respondents were also remarkably consistent in explaining why they wanted attend university or
college. Here, all but one respondent noted that the reason for pursuing postsecondary education
was to “gain skills and/or knowledge.” Beyond this, “finding a job post-graduation” and “making
friends” were the next two most common responses.
Probing the issue of skills at a more granular level, the survey turned to explore the specific types
of skills that respondents most hoped to acquire while at university or college. Although a range
of answers were offered, the five most frequent responses were (in order of response frequency):





Technological skills;
Broad knowledge and education;
Interpersonal and collaborative working skills;
Creative thinking and problem solving; and,
Clear writing skills.
Lastly, when considering the decision-making process, respondents were asked to select between
two relative terms, offering their thoughts on which of the two options was more important when
considering what university or college to attend. The relative term options are reproduced
below, with the more frequent response choice underlined.



Academic Rigour vs. Employment
Employment vs. Class Size
Community vs. Academic Reputation
One interesting point to note here is that, although mentioned twice in the relative term section of
the survey, “employment” was not selected by a majority of students in either case. This
occurred despite the fact that “post-graduation jobs” ranks among the top choices when
respondents were probed on important factors when deciding on what institution to attend. It
seems that although students are thinking about jobs in a longer-term or perhaps abstract sense,
even at the outset of their postsecondary careers, they do not necessarily consider an institution’s
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job-placement record as being more important than the immediate impacts of academic rigour or
class size.
Overall, respondents in this study who expressed interest in design, technology, and/or digital
media fields tended to conform to pre-existing notions of the postsecondary decision-making
process. Program offerings, location, post-graduation job opportunities, and financial aid were
all in the forefront of respondents’ minds when deciding on which institution to attend.
Respondents also expressed similar agreement with respect to the sorts of qualities and skills
they hoped to attain from university, and the reasons for pursuing postsecondary education at a
particular institution.
Perceptions of OCAD University
Having probed respondents’ decision-making processes, the study then considered respondents’
perceptions of, and attitudes towards, OCAD University.
All respondents were familiar with OCAD University, and more than half of respondents had
either visited OCAD University’s campus, spoken with an OCAD University representative, or
attended a presentation hosted by OCAD University, at some point within the past two years.
Respondents overwhelmingly agreed that OCAD University was a strong institution for students
interested in arts and design. Similarly, when probed on the opinion of their peers and friendship
circles, respondents again noted OCAD University’s strength in arts and design education:
"[My friends] think [OCAD University] is a really interesting school. People who really
like arts and design programs can definitely sharpen their skills”
“My friends think [OCAD University] is great for design and arts – it gives people
theoretical knowledge and practical, hands-on learning.”
Of those respondents who had discussed OCAD University with their parents, there was,
unsurprisingly, general agreement about the institution’s strength in arts and design education.
The one area where parental opinion seemed less positive, however, was in perceived overall
academic rigour, especially when compared to benchmark institutions.
"[My parents] think [OCAD University] is a good school… but they think it maybe isn’t
as academically great or well-rounded as schools like U of T or York."
Among parents, it seems, OCAD University is identified as a strong arts and design institution,
though it perhaps lags its competitors with respect to perception of overall academic quality.
This, of course, is not necessarily a detriment, as it suggests that OCAD University has done well
to make its brand synonymous with Canadian arts and design education.
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Respondents identified with this arts and design branding when probed to provide words or
phrases that best described OCAD University. Most common among responses was that OCAD
University was: unique, original, and had a very popular and recognizable flagship building.
Likewise when describing the type of student who may attend OCAD University, respondents
frequently noted that OCAD University students were imaginative, creative, unique, and nonconformist. As an institution, given a choice of relative terms, students overwhelming identified
OCAD University as being:






Provocative
Modern
Collaborative
Collectivist
Flexible; and,
Specialized
This tendency to identify of OCAD University specifically as “the arts and design school”
seemed to inform perceptions on the institution’s strengths and weaknesses, and perhaps
constitutes a double-edged sword. For instance, when describing OCAD University’s strengths,
respondents most frequently noted OCAD University’s hands-on, practical arts and design
education. When the subject turned to weaknesses, however, this specialization in arts and
design was seen as something of a detriment, as was the job prospects of arts and design
graduates, more generally.
“[OCAD University] allows students to steer their own path in the arts, with great
guidance, and great hands-on lab facilities. They’re study abroad program seems
pretty interesting, as well.”
“[OCAD University’s] biggest weakness is its lack of strong programs not related to arts
and design. It maybe doesn’t offer as wide a range of courses as other schools… it’s a
little too specialized.”
“Arts school grads maybe don’t get the best paying jobs, afterwards. It kind of puts
them in a box.”
As such, the overall perception of OCAD University was that of a strong arts and design
institution – a well-known commodity within the specialized subset of arts and design program
offerings, and boasting well-liked and recognizable architecture. At the same time, the strength
of being perceived as “the arts and design school” led many to gesture towards the perception
that OCAD University suffers from over-specialization, perhaps making potential enrollees less
likely to apply to programs not seen as being within the confines of traditional arts and design
fields.
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“Creative Digital Industries”
With perceptions of OCAD University established, the study next turned to explore the more
central matters of OCAD University program offerings, specifically with respect to the Digital
Futures program. The Digital Futures program specifically markets itself as guiding students
towards careers in the “creative digital industries,” and so the study first probed respondents’
familiarity with this concept. Overwhelmingly, respondents’ struggled to define what was meant
by “creative digital industries” (the Digital Futures website offers no definition to elucidate the
concept to site visitors). What is more, a keyword search of “creative digital industries” on
Google.com yields very little definitional assistance. It might be the case that industry
professionals and academics understand the term; however, the average 18-23 year old in this
study had extreme difficulty understanding or conceptualizing the phrase. Once a definition was
provided, respondents seemed to grasp the concept well. Nevertheless, the initial unfamiliarity
acted as an impediment to respondents’ ability to identify with the Digital Futures program. 19
Once an understanding was reached on the concept of “creative digital industries” respondents
were asked to identify what universities or colleges they might consider if they were going to
enrol in a program that centred on the creative digital industries. The following institutions were
mentioned, in order of frequency:





OCAD University
Ryerson University
Sheridan College
Mohawk College
York University
Here, some caution must be exercised. The study, to this point, had focused heavily on issues
and perceptions of OCAD University; thus, when asked to list institutions, it is not surprising
that OCAD University was mentioned first, as it was likely in the forefront of respondents’
minds, given the progression and nature of the interview. That said, it is just likely that OCAD
University would be considered among those institutions offering programs that lead to careers
in the Creative Digital Industries. In fact, a slight majority of respondents were confident that
OCAD University offered programs specifically tailored to the creative digital industries, though
the remaining respondents were “not sure.”
Digital Futures
When the study turned to probe issues of the Digital Futures program, specifically, an interesting
disconnect became evident: although students had indicated that OCAD University likely offered
programs leading to careers in the creative digital industries, respondents were much less certain
about the Digital Futures program, itself, and how (or even if) it fit into the scope of OCAD
Unfortunately, this study did not probe further into how students defined “creative digital industries” for themselves. Doing so
might offer some clues as to how to better present the program, and its professional objectives, to potential enrollees who may be
unfamiliar with the technical language.
19
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University program offerings. Four central issues became clear: recognition, understanding,
classification, and perception of quality.
Program recognition or lack thereof, emerged as a clear impediment to the Digital Futures
program success. Almost all respondents were entirely unfamiliar with the Digital Futures
program. In fact, the overwhelming majority of respondents had never heard of the Digital
Futures program, and were entirely unaware that OCAD University offered this program.
Complicating matters further, respondents struggled to understand what the program consisted
of, or offered to students. Asked to describe what was meant by the term “Digital Futures,”
respondents thought of the following words and phrases:




Digital
Future trends
New technology
A name for a music festival
Evidently, the name “digital futures” did not resonate with students in a way that allowed them
to accurately conceptualize the program, or its mission. Similarly, the overwhelming majority
of students were not even aware that such a program was on offer from OCAD University.
The third issue that became evident concerned the concept of classification. Interestingly,
respondents did not immediately recognize the Digital Futures program as falling under
traditional arts and design categories. In fact, when students were presented with the website
text explaining the program, many remained confused (some becoming more so) about the
program’s scope or mission. When the program was explained further, it wasn’t immediately
evident to students that this program fell either under traditional arts classification, traditional
design classification, or something else. After more discussion and explanation of the program,
students tended to characterize Digital Futures as being a design program, though a hybrid or
interdisciplinary one.
These problems with classification had an impact on the fourth challenge facing the Digital
Futures program: having categorized DF as a design program, respondents were hesitant to
recognize OCAD University as having a competitive advantage over its peers in this area. Once
an understanding was reached on the program’s mission, respondents were asked to indicate
institutions that might excel in this type of program offering. OCAD University was mentioned,
but was mentioned less frequently than York University, Sheridan College, Ryerson University,
and Mohawk College. When this result was probed further, it became clear that respondents did
not necessarily view OCAD University as being a particularly strong institution for designrelated programs.
“If I was going to go into this kind of program, I’d probably go to York or Ryerson. I
think they’re a bit stronger in this area.”
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Again, it is not that OCAD University has a bad reputation; rather, the fact is that OCAD
University does not possess a competitive advantage amongst its peers, specifically in designrelated programs. Ultimately, opinion was spilt on whether respondents would consider
enrolling in the DF Program, as several respondents expressed interest, but wanted more
information. When prompted to explain what information respondents would need before
enrolling, the most popular answer concerned post-graduation jobs, and the career paths of
students already graduated. Part of this is simply a problem of time: new programs do not have
the ability to highlight the success of their graduates. Nevertheless, OCAD University
competitor institutions go to great lengths to demonstrate the outcomes of their programs; it
worth considering how OCAD University can demonstrate value-added relative to its peers.
Conclusions and Recommendations
The challenges for the Digital Futures program are threefold:
1. Target audiences remain unclear about what “Digital Futures” and “Creative
Digital Industries” means;
2. When terms are explained, respondents are not sure how this area relates to arts
and design schools; and,
3. When explained that OCAD University offers this kind of program, OCAD
University is not necessarily seen as first choice in this field.
One possible suggestion with respect to the challenges of recognition and understanding would
be to redesign the promotional and informational material for the DF program. As it stands,
there is tremendous confusion regarding nomenclature. Two examples will suffice. For a
student unfamiliar with the program, the following is their first introduction, as found on the
Digital Futures undergraduate program website:
Are you an X-shaped designer? The focus of
the Digital Futures undergraduate program is
to develop “X-shaped innovators” for the
creative digital industries. Each point of X
is an expertise: in art, design science and
enterprise. Creatives acquire practical
knowledge in these areas and also learn to
collaborate brilliantly with industry and experts
across the fields.
There are several features in this block of text that hinders the ability to present the DF program
in the clearest manner. Students, for instance, do not intuitively understand the concept of an
“X-shaped designer,” especially those who are unfamiliar with the DF program or the concept of
creative digital industries. Presenting the definition of X-shaped designers using vague language
and unclear metaphors muddies the waters further. The letter “X,” for instance, is not often
thought of as having “points,” nor will novice students be familiar with the term “creative” used
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a noun. The problem is complicated further by the text that immediately follows the passage
quoted above.
Students at the heart of the X work with faculty to develop their own unique
creativity and solver engine. Industry is now demanding X-shaped innovators to
lead the Renaissance 2.0 into the future.
This passage is rife with complicated terminology and unclear phrasing. To a student who is
being exposed to the DF program for the first time, they are very unlikely to understand the
following concepts:




“At the heart of the X”
Solver Engine
X-Shaped innovators
“The Renaissance 2.0”
Granted, these terms may be commonplace to industry professionals and academics who
specialize in this field; to a potential enrollee, however, such language is entirely foreign, and
might well dissuade individuals from exploring the program in greater depth.
To address the issue of confusing nomenclature, OCAD University may consider:


Radical change to the language of promotional material
Greater emphasis on jobs, as well as the value-added of pursuing this degree at this
institution, rather than at a competitor.
The challenges of classification and perception of quality can be addressed together. Two issues
seem at play here: the first is that, generally speaking, “digital futures” tended to be thought of
much more as a “digital” program than a “design” program; next, the second, related issue, is
that even after respondents conceptualized DF as falling generally in the design category,20
OCAD University’s brand on “digital” or “design” is no better than York/Sheridan, Ryerson, or
Mohawk’s.
Part of the solution to these issues simply requires time, and relies on the reputational
development that will come as graduates achieve success in the workplace, and can thus act as
brand ambassadors, demonstrating the program’s efficacy. In the short-term, OCAD University
may consider changing the program’s emphasis, at least in name, so as to highlight those features
of the program for which OCAD University already has a strong reputation. De-emphasizing the
digital, here, may go a long way in enticing students to explore the program further. Likewise,
adopting a program name that highlights OCAD University’s strengths will better position
OCAD University to attract students to the program.
20
Here, we understand that DF program administrators may not themselves see the program as falling into a design category;
however, when respondents were prompted on the subject, the majority ultimately tended to categorize the Digital Futures
program as being predominantly design-based.
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Certainly challenges exist to the Digital Futures program. These challenges, however, present
opportunities for OCAD University to further refine the DF program, allowing it to enjoy a more
vaunted status within the proud tradition of OCAD University cutting-edge program offerings.
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APPENDIX A: OCAD UNIVERSITY ALUMNI
INTERVIEW INSTRUMENT
Key Informant Interview Instrument
Note: Below is the interview instrument used for the in-depth qualitative interviews for the
OCAD University Alumni interview. These key informant telephone conversations lasted
roughly 30-45 minutes in length, and although they followed a predetermined and preapproved
interview instrument, conversations moved into a variety of areas, as explored a number of issues
with respect to OCAD University alumni, at the interviewer’s discretion.
1. Are you currently employed in any capacity (full-time, part-time,
seasonal, contract, freelance)?
Response
Yes
No
2. Do you currently work in Toronto?
Response
Yes
No
3. In what sector or field do you primarily work? [Coded after – Prompted if
necessary]
Response
Cultural sector (e.g. government, non-profit, community
development);
Arts community (e.g. practicing artists (visual,
performing & music arts), curators, venue / gallery
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owners, arts advocacy and education);
Creative industries (e.g. firms and professional
associations in film, TV, digital media, publishing, music,
advertising, architecture, etc.)
Design
Digital Media
Unemployed
Other [text response to elaborate]
4. In what year did you graduate from OCAD University?
Response
2014
2013
2012
2011
2010
2009
2008
2007
2006
2005
5. From what program did you graduate at OCAD University?
Response
Advertising
Graphic Design
Illustration
Environmental Design
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Industrial Design
Material Art & Design
Criticism & Curatorial Practice
Cross-Disciplinary Art: Publication
Drawing & Painting
Integrated Media
Sculpture/Installation
6. Are you currently working in a profession that directly relates to your
training at OCAD University?
Response
Yes
No
7. What Skills that you learned at OCAD University do you find most useful
in your current job?
Response
Critical thinking and analysis of arguments
and information
Broad knowledge and education
Listening and revising
Creative thinking and problem solving
Research skills
Clear Writing
Persuasive Speaking
Project Management Skills
Technological Skills
Artistic Technique
Financial and Business Management Skills
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Interpersonal relations and collaborative
working skills
Leadership Skills
Networking and relationship-building
Teaching skills
Other [text response to elaborate]
8. What Skills that now seem relevant at your current job did you wish you
had learned (but did not obtain) while at OCAD University?
Response
Critical thinking and analysis of arguments
and information
Listening and revising
Clear Writing
Persuasive Speaking
Project Management Skills
Technological Skills
Artistic Technique
Financial and Business Management Skills
Entrepreneurial Skills
Leadership Skills
Networking and relationship-building
Teaching skills
Other [text response to elaborate]
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9
For a new student who is entering OCAD University in the program from
which you graduated, which five (5) courses (mandatory or elective)
would you recommend taking for that student to be best prepared for the
job market after graduation?
9. In your opinion, what three (3) skills are the most important for art and
design school graduates to have, when entering the labour market in your
field?
Response
Critical thinking and analysis of arguments
and information
Broad knowledge and education
Creative thinking and problem solving
Research skills
Clear Writing
Persuasive Speaking
Project Management Skills
Technological Skills
Artistic Technique
Financial and Business Management Skills
Entrepreneurial Skills
Interpersonal relations and collaborative
working skills
Leadership Skills
Networking and relationship-building
Other [text response to elaborate]
10. While a student, were you aware eof any career-related programs
offered by OCAD University?
Response
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Yes [text response to elaborate]
No
11. While a student, did you participate in any of OCAD University's student
exhibitions?
Response
Yes [text response to elaborate]
No
12. When you started looking for a job, did you seek out and use any of the
career development initiatives offered by OCAD University to help you
with your job search?
Response
Yes [text response to elaborate]
No
13. Did you reach out to, or contact, any of your OCAD U colleagues while
you were looking for a job?
Response
Yes [text response to elaborate]
No
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14. Approximately how long after graduation from OCAD University were
you on the job market looking for work, before finding employment
related to your field?
Response
3 months 6 months 1 year 1.5 years 2 years 2.5 years 3+ years
Still have not found work
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APPENDIX B: EMPLOYER INTERVIEW
INSTRUMENT – SHORT-FORM SURVEY
Key Informant Interview Instrument
Note: Below is the interview instrument used for the qualitative interviews for the short-form
Employer Interviews. These key informant telephone conversations lasted roughly 10-15
minutes in length, and although they followed a predetermined and preapproved interview
instrument, conversations moved into a variety of areas, as explored a number of issues with
respect to OCAD University alumni, at the interviewer’s discretion.
1. Do you currently work in the Greater Toronto Area?
Response
Yes
No
2. In which sector or fields does your company work?
Response
Cultural sector (e.g. government, non-profit, community development);
Arts community (e.g. practicing artists (visual, performing & music arts), curators,
venue / gallery owners, arts advocacy and education);
Creative industries (e.g. firms and professional associations in film, TV, digital media,
publishing, music, advertising, architecture, etc.)
Design
Digital Media
Other [With text box response]
3. How familiar are you with OCAD University?
Response
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Very Familiar
Somewhat Familiar
Not Familiar
[FOLLOW IF T2 = NOT FAMILILAR] Are you familiar with the Ontario College of
Art and Design? (i.e. the institution before it became an accredited university)
4. How would you describe OCAD University, and what it does? [TEXT
RESPONSE]
5. Are you formally associated with OCAD U, for example as an alumni, an
instructor, a donor, or have you juried awards competitions?
Response
Yes
No
[TEXT ELABORATION IF “YES”] Are you formally associated with OCAD U, for example
as an alumni, an instructor, a donor, or have you juried awards competitions?
6. Have you ever attended an OCAD U event, such as an open house, a graduate
exhibition, or an auction?
[TEXT ELABORATION IF “YES”] [T4_2_OCADconnections] Have you ever
attended an OCAD U event, such as an open house, a graduate exhibition, or an
auction?
[IF “YES”] Have you ever attended an OCAD event in order to scout talent, or to
possibly recruit OCAD students or graduates to your company?
Response
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Yes
No
7. Have you ever worked with OCAD University students or alumni in ANY
capacity?
Response
Yes
No
Not sure
[TEXT ELABORATION IF “YES”] [T4_3_OCADconnections] Have you ever worked with
OCAD University students or alumni in any capacity?
8. Is there another connection we might have missed – Is there a way OCAD U as
an institution has connected with its students that we haven’t considered?
Response
Yes
No
[TEXT ELABORATION IF “YES”] Is there another connection we might have missed?
9. In your opinion, how well does OCAD University help create networking
opportunities for artists in Toronto?
Response
Very Well
Well
Adequately
Poorly
Very Poorly
Not sure
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10. Can you give me an example or two of how they do this?
11. Do you think it should be trying to do a better job?
Response
Yes
No
12. What, in your opinion, are OCAD University's most significant contributions
to the arts and culture scene in Toronto?
Response
Arts community (e.g. fine arts, crafts, and
cultural activity)
Creative industries (e.g. publishing, design.
music, fashion, film & television)
Urban landscape (e.g. architecture, public art,
vibrant neighbourhood)
13. In your opinion, on a scale from not relevant to essential, how relevant is
OCAD University to the following:
No
Somewhat Relevant
relevance relevant
Very
Essential
Relevant
Total
Responses
To the sector / field /
industry in which you
work?
To Toronto's broader
cultural sector, Arts
Scene, and Creative
Economy?
To Toronto, as a city?
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APPENDIX C: EMPLOYER INTERVIEW
INSTRUMENT – LONG-FORM SURVEY
Key Informant Interview Instrument
Note: Below is the interview instrument used for the in-depth, qualitative interviews for the longform Employer Interviews. These key informant telephone conversations lasted roughly 45-60
minutes in length, and although they followed a predetermined and preapproved interview
instrument, conversations moved into a variety of areas, as explored a number of issues with
respect to OCAD University alumni, at the interviewer’s discretion.
1. Is your company based in the Greater Toronto Area?
Response
Yes
No
2. What is your company's name?
3. In which of the following sectors or field does your company primarily
work?
Response
Cultural sector (e.g. government, non-profit, community
development);
Arts community (e.g. practicing artists (visual, performing &
music arts), curators, venue / gallery owners, arts advocacy
and education);
Creative industries (e.g. firms and professional associations
in film, TV, digital media, publishing, music, advertising,
architecture, etc.)
Design
Digital Media
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Other [text response for elaboration]
4. How long has your company been in operation?
Response
1 year to
5 years to
10 years to
20+ years
Not Sure
5. Does your company currently employ students or recent graduates?
Response
Yes
No
Not Sure
6. Are you aware if your company employs graduates of OCAD University?
Response
Yes
No
Not sure
7. Can you identify from what specific programs you have hired OCAD
students and/or graduates?
Response
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Digital Futures
Graphic Design
Illustration
Industrial Design
Material Art & Design
Criticism & Curatorial Practice
Cross-Disciplinary Art: Publication
Digital Futures
Drawing & Painting
Drawing & Painting: Digital Painting & Expanded Animation
Integrated Media
Photography
Sculpture/Installation
Other [ text response for elaboration]
Does Not know
8. In the past three years, has the number of employees at your company
increased or decreased?
Response
Increased
Decreased
Stayed the same
Not sure
9. What type of employment does your Company offer?
Response
Full-time/long-term
Part-Time
Contract
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Freelance
Not sure
10. In your opinion, what type of employment will your company offer more
of in the future?
Response
Full-time/long-term
Part-time
Contract
Freelance
We will not offer more employment (none
of the above)
Not sure
11. Over the past three years, have you been hiring more or fewer recent
graduates?
Response
More
Fewer
About the same
Have not hired anyone in past three
years
Not sure
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12. Would the same be true for graduates of art and design programs? In
other words, during this time, have you hired more or fewer recent
graduates of arts and design programs?
Response
More
Fewer
Same
Not sure
13. How about graduates of OCAD university, specifically? Have you hired
more or fewer graduates specifically from OCAD University in the last
three years than in previous years?
Response
More
Fewer
Same
Not sure
14. Have you attended an OCAD University event?
Response
Yes
No
Not sure
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15. Have you ever attended an OCAD event in order to scout talent, or to
possibly recruit OCAD students or graduates to your company?
Response
Yes
No [text response to elaborate]
Not sure [text response to
elaborate]
16. When your company has employment opportunities, what methods do
you use to recruit people?
Response
Job posting on website (ex. Canada Job
Board; Indeed.com)
Targeted Search (ex. LinkedIn)
Word-of-mouth
Print advertisement
University Career Centres
Other
Not sure
[text elaboration] When your company has employment opportunities, what methods
do you use to recruit people? (Other)
[If “University Career Centres” to 16, then]: At which institutional career centres
in the GTA do you regularly post job openings?
Response
OCAD University
Ryerson University
U of T
York
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Mohawk
Sheridan
George Brown
Other
17. When your company is hiring to fill positions in arts & design, what are
the most important skills for a candidate to have? [coded after]
Response
Critical thinking and analysis of arguments
and information
Broad knowledge and education
Listening and revising
Creative thinking and problem solving
Research skills
Clear Writing
Persuasive Speaking
Project Management Skills
Technological Skills
Artistic Technique
Financial and Business Management Skills
Entrepreneurial Skills
Interpersonal relations and collaborative
working skills
Leadership Skills
Networking and relationship-building
Teaching skills
Other [text response for elaboration]
Not sure
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18. In terms of on the job performance, how do OCAD University graduates
compare to employees from other institutions?
Response
BETTER
EQUAL
WORSE
It depends [text response for
elaboration]
Not sure
19. In your opinion how well does OCAD University prepare its students for
successful careers in your industry?
Response
Very well prepared
Adequately prepared
Somewhat prepared
Under prepared
Not sure
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20. Are there any specific skills that are required now by your FIRM, that
weren't required five years ago?
21. Are there any specific skills that are commonly required by other firms in
your Industry, that weren't required five years ago?
22. In your opinion, how will the skills profile of your firm be different 5
years from now?
23. In your opinion, how well have OCAD U graduates done in keeping-up
with the changing skills-requirements necessary to succeed in your firm's
industry?
Response
Very well
Moderately well
Not Well
Not sure
24. What skills could an institutions better provide to students to prepare
them for successful careers in your industry? [Coded after]
Response
Critical thinking and analysis of arguments
and information
Broad knowledge and education
Listening and revising
Creative thinking and problem solving
Research skills
Clear Writing
Persuasive Speaking
Project Management Skills
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Technological Skills
Artistic Technique
Financial and Business Management Skills
Entrepreneurial Skills
Interpersonal relations and collaborative
working skills
Leadership Skills
Networking and relationship-building
Teaching skills
Other [text box for elaboration]
Not sure
None
25.When you think about the overall business environment for your FIRM,
which statement best describes your personal outlook for the next five
years?
Response
Very positive
Positive
Neutral
Negative
Very Negative
N/A
Not sure
26.Now thinking about the industry overall; when you think about the
overall business environment for your industry, which statement best
describes your personal outlook for the next five years?
Response
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Very positive
Positive
Neutral
Negative
Very Negative
N/A
Not sure
27. How familiar are you with OCAD University, in general?
Not familiar
Somewhat
Familiar
Familliar
Total
Responses
28. How would you describe OCAD University, and what it does?
29. Are you formally associated with OCAD U, for example as an alumni,
instructor, donor, or jury member for awards competitions?
Response
Yes
No
[Text response if “Yes” to 29] Are you formally associated with OCAD U, for example
as an alumni, instructor, donor, or jury member for awards competitions?
30. Have you, less formally, attended OCAD U events, such as their open
house, graduate exhibition, and auction?
Response
Yes [ text elaboration]
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No
31. Have you ever worked with OCAD U students or alumni in any capacity?
Response
Yes [ text response for
elaboration]
No
32. Are you connected to OCAD U in any other way?
Response
Yes [text response for elaboration]
No
33. In your opinion, does OCAD University create opportunities in Toronto's
Arts scene?
Response
Yes
No
[if no, then] Do you think it should?
Response
Yes [ text response for
elaboration]
No
Not sure
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34. In what areas or sectors does OCAD University contribute to Toronto's
arts and cultural sectors? [Coded after]
Response
Arts community (e.g. fine arts, crafts, and
cultural activity)
Creative industries (e.g. publishing, music,
fashion, film & television)
Urban landscape (e.g. architecture, public art,
vibrant neighbourhood)
35.What are some different ways that OCAD University contributes to
Toronto's arts and cultural sectors?
36. In your opinion how relevant is OCAD U to the following sectors:
No
Somewhat Relevant
relevance relevant
Very
Relevant
Essential
Total
Responses
To the sector / field /
industry in which
you work?
To Toronto's Arts
and Cultural Scene?
To Toronto, as a
city?
37. In your opinion, does OCAD University have any peer institutions in
TORONTO?
Response
Yes [text response to elaborate]
No
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Not sure
38. In your opinion, does OCAD University have any peer institutions in
CANADA?
Response
Yes [text response to elaborate]
No
Not sure
39. How does OCAD University compare in quality to these peers?
40. On a scale of 1-to-5 (1 being "very prominent", and 5 being "not at all
prominent): in your perception, how prominent are OCAD alumni, faculty,
and students in the following areas:
Very
promine
nt
Prominent Moderatel Of little
Not at all
y
prominenc promine
Prominent e
nt
Not
Sure
Total
Response
s
At arts events
like the One
of a Kind
Show and the
Toronto
Outdoor Art
Show
As
representativ
es of the arts
(on councils &
in
professional
associations)
In galleries, as
curators,
artists,
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owners
At
competitions,
as jurors, or
competitors
As instructors
in arts
education
41. How would you describe OCAD University's influence on physical urban
spaces in Toronto?
42. [REPEAT QUESTION TO VERIFY EARLIER RESPONSE] In your opinion, how
WELL does OCAD University create networking opportunities for people in
Toronto's creative sector?
Very
Well
Well
Adequately
Poorly
Very
Poorly
Not
Sure
Total
Responses
43. In your perception, how successful is OCAD University in the following
areas:
Very
Somewha Moderatel
successfu t
y
l
successful successful
Less than Unsuccessf
successfu ul
l
Not
sure
Total
Response
s
The
employabilit
y of its
graduates
The
networking
ability of
graduates
Establishing
prominence
in the the
eyes of
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companies
and
associations
44. Is there anything else that you think would be useful for OCAD University
to know that might help it continue to improve as an institution?
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APPENDIX D: LIST OF BUSINESS FOR EMPLOYER
INTERVIEWS
Note: OCAD University initially provided the names of roughly 200 businesses in the Greater
Toronto Area related to arts and design industries. HESA staff then conducted internet research
to compile contact information associated with each of those businesses, and to further populate
the list. This process involved identifying the councils, boards, and associations to which the
original 200 businesses belonged, in order to add related or associated businesses. In addition, a
“snowball question” was included at the conclusion of interviews, which afforded the
opportunity for respondents to identify other businesses that might be willing to participate in the
study. Ultimately, a list of more than 1000 businesses was compiled. In some cases, business
included several high-ranking contact names (such as a President/Owner, Manager, Director,
etc.). As a result, the more than 1000 businesses on our list represented more than 1,500
contacts. This list became the basis for interview recruitment. Although privacy legislation
inhibits our indicating the specific businesses that chose to participate in the study, the overall
list, in its entirety, is produced below.
Arts and Design Businesses – Master List
+tongtong
185 AUGUSTA
1point0
26 MACKENZIE CRESCENT
3.7 Designs
3AM Design
3DPhacktory
45 VIDEO PRODUCTIONS
48th Highlanders Museum
99 GALLERY
A Nerd’s World
A Space gallery
Aareas Interactive
Aboriginal Curatorial Collective
Access Copywright
ACME ART & DESIGN
ACTIVATE MEDIA
Adam Stockholm
ADVANCED VERIFICATION
TECHNOLOGIES, INC.
ADVANTAGE STAGING
Adventure Film PRoductions
HESA
Aegis
Aesthetec Studio
Aftermodern.lab
Aga Khan Museum
AKASHA ART PROJECTS
Akimbo
Alberta Foundation for the Arts
Album Studio Rentals
Alexandra Shimo
ALISON MILNE GALLERY
ALISON SMITH GALLERY
All Nations Media
ALL STARS MUSIC SCHOOL
ALLA BREVE ACADEMY OF MUSIC AND
ARTS
ALLDECOR HOME STAGING
Allyn Creative
Amanda Ip
AMAZING PRINT CORP.
AMBIENCE INTERIORS
AMC THEATRES
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Andre Ivanchuk
ANDREW RICHARD DESIGNS
ANGELL GALLERY
Angelwalk Theatre
Animation Portfolio Workshop
Anna Buechin
Anomaly
Anomaly
AOE Arts Council
Apparatus
Applewood (Ontario)
Applied Kinetics
Arc & Co. Design Collective
architects Alliance
Architecture+
Archives of Ontario
ARE GALLERY
ARP
ART AND SOUL DANCE COMPANY
Art Canada Institute
Art Gallery of Hamilton
Art Gallery of Ontario
Art Gallery of York University
Art Hive
Art Metropole
ART SQUARE GALLERY
Art Street Design Studio
Art Toronto
Artbarn School
ARTBARRAGE
Artcite
ARTEK
ARTGATE
ArtInfo – Blog
Artist Run Centres & Collectives of
Ontario ARCCO
Artista Design & Print Inc.
Arts Etobicoke
Arts for Children and Youth
Arts Richmond Hill
Arts Society King
HESA
ArtsBuild Ontario
Artscape
Artscape Triangle Gallery
artsVest
Artworks Oakville
ARTYKA
AS IS PROJECT SPACE
Associated Designers of Canada
Association of Canadian Industrial
Designers
Association of Chartered Industrial
Designers of Ont
Association of Professional Landscape
Designers
Association of Registered Graphic
Desigers
ASTOUND Group
ATELIER RZLBD
AuthentiCity (Greg Baker, consultant)
AUTO TRIM DESIGN INC.
Autodesk
AV Design
Avalon Graphic Design
B.side
B+H
BAITSHOP
Balance
BALLARE CENTRE FOR THE
PERFORMING ARTS
Bally Exhibit
Banff Centre
BANK ON ART AT 952 QUEEN ST. WEST
Bartlett & Associates
Bata Shoe Museum
BATHURST MURAL PROJECT
BAU-XI GALLERY
BAU-XI PHOTO
Baycrest Centre for Geriatric Care
BB BLANC
BBDO
BBM Canada
Beaux-Arts Brampton
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BEAVER HALL GALLERY
BEIT ZATOUN
Ben Chaisson - Freelance
BENDING SPOONS GALLERY AT VESUVIO
Bensimon Byrne
Bermuda National Gallery
BEVERLY REDLICK DESIGNS
Bill Buxton
Bink Architecture
Black Creek Pioneer Village
Blast Radius
Blok Design
Bloomberg Businessweek Magazine
BLUE DAIZY VIDEO PRODUCTIONS
Bluenotes
BmDodo Strategic Design
BOA Studios
Bohlin Cywinski Jackson
Brampton Arts Council
BRAYHAM CONTEMPORARY ART
Bright Innovation
BROCKTON COLLECTIVE
Brolly Media
Brothers Dressler
Brownlie Design
Bruce Mau
Bruce Mau Design
Burdifilek
Burn Creative
Burt Hill
Business for the Arts
C2P
CAMH
CAMPBELL HOUSE MUSEUM
Canada Council for the Arts
Canadian Air and Space Museum
Canadian Art Foundation
Canadian Artists' Representation
Copyright Collective
Canadian Conference of the Arts
CANADIAN HERITAGE ART COMPANY
HESA
Canadian Motorsport Heritage Museum
CANADIAN SCHOOL OF PERFORMING
ARTS
Canadian Sculpture Centre
Canadian Society for Painters in Water
Colour
Canadore College
Cannon Design
CANVAS GALLERY
CAPTUS PRESS INC.
Cardboard Helicopter
Carden Cunietti Ltd
CARFAC Ontario
Casa Loma
Cast Connex
Catalyst Workshop Inc.
CBC
CBC Museum
Cedar Ridge Creative Centre
Celestica Inc
CÉLINE-ALLARD GALLERY
CELLAR GRAPHICS INC.
Centennial College
Centre for Activity and Aging
Centre for Cultural Management,
University of Waterloo
Centre3 for Print & media Arts
Certified Ontario College of Teachers
CHAIR COVERS PLUS
ChaseDesign
Chris Lorway, Soundstreams Canada
CHUM FM Radio
CIAO BELLA DANCE STUDIO
Cinderbloc
CINESPACE FILM STUDIOS
City of Toronto - Arts Services
City of Toronto - Cultural Affairs
City of Toronto - Economic
Development & Culture
City of Toronto - Museum Services
City Staff (TO, GTA)
Clear Space
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Clint Roenisch
CLUB PARADISE 2 DANCE STUDIO
CObP Design
Colborne Lodge
COLOSSUS TORONTO
Colourgenics: Fine Art Imaging
COMMUNICATION GALLERY
Concordia University
Conference Board of Canada
CONTACT GALLERY
Contact Photography Festival
Contemporary Art Forum of Kitchener
Context Creative
CONVENIENCE GALLERY
Convergence Theatre
Cooler Solutions
Cooper Cole
Corkin Gallery
CORRIDOR GALLERY , CENTENNIAL
COLLEGE
Cortex Design
Corus Entertainment
Cossette
COVERS COURTURE & DECOR
CP+B
Crash Media
CREAM TANGERINE GALLERY
Creatacor
CREATIVE BLUEPRINT GALLERY
Creative Economy, City of Vaughan
CREATIVE FOLIO LTD.
Creativity Oven
Crescent Group
CTV News
Cultural Communities and Prosperity
Fund
Cultural Human Resources Council
Cultural Services
Cundari
Cuppa Coffee
Cuyahoga County Planning Commission
HESA
Cygnus Group
D.M.S VIDEO
Daedalus
DANCE STREAM
DANCE STUDIO
DANCE SURGE
DANCE WITH MARA
Daniel Faria
Dare Arts Foundation
Dashing
David Abel, Art of Time Ensemble
David Berman Communications
David Johns Portraits
DAVID KAYE GALLERY
DAVIDSON STUDIO
DAWES CROSSING
DDB
Dean Davidson
DECORENZA
Defind Media Inc
DentsuBos
Department of Canadian Heritage
Design 1st
Design and Wayfinding Consultants
(Cygnus Group)
Design Cabin
Design Directive
Design Exchange
DESIGN HOPE
Design Industry Advisory Committee
DESIGNING DIGITAL MEDIA FOR THE
INTERNET OF THINGS
Designlore
Designperimeter
DESIGNWORXS
Diaz Contemporary
Digifabshop
DivaGirl
DJA Design
documentary film maker
DON´T TELL MAMA GALLERY
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Doner
Doris McCarthy Gallery
DOUBLE DOUBLE LAND
Doug & Serge
DRABINSKY GALLERY
Draft FCB (design firm)
DraftFCB
Dragan Djordjevic
DRC VIDEO PRODUCTIONS
Dubbeldam Architecture + Design
Dufferin Arts Council
DW Product Development
Eastern Edge – Artist Run Centre (NS)
EDEN ART GALLERY
Edit Undo
EDWARD DAY GALLERY
eHealth Ontario
Einhorn Design
elementByIdea
Elevated Works
Elora Centre for the Arts
Emil Design Studio
ENERGY DANCE ARTS
ENGINE GALLERY
Enoch Turner Schoolhouse
Entro
ENZO MERCURI DESIGNS
EPIC CONDOMINIUM DEVELOPMENT
SITE
ERIC ARTHUR GALLERY
Erin Stump Gallery
ERIN STUMP PROJECTS
Etobicoke Civic Centre Gallery
Etsy
Eureka!
EVOLUTION DANCE STUDIO
Evolve Design Solutions
EWI Worldwide
EXCALIBUR INTERIOR DESIGN
Exhibit Solutions
EYEONYOU VIDEO PRODUCTIONS LTD.
HESA
EYP Architecture & Engineering
Factore
Factory Theatre
FAG (FEMINIST ART GALLERY)
FEHELEY FINE ARTS
FigDig
Figforty
figure3
Film Toronto (website)
FINE & DANDY
Firebrand Tribe
FIRST CANADIAN PLACE GALLERY
Fit Associates
FLEISHMAN GALLERY
Floggem
FLORA DI MENNA DESIGNS
Flowdesign
Ford Entertainment & Productions
Ford Motor Co
Forest City Gallery
FORM
Fort William Historical Park
Fort York National Historic Site
FOURTH EYE GALLERY
FRAN HILL GALLERY
Freelance Designer
Fresh Art and Design
Freshly Diced
G GALLERY
Gabriel Mackinnon
GALERIE CHRISTIN
GALLERY 129 OSSINGTON
Gallery 1313
GALLERY 345
Gallery 36
Gallery 44
Gallery Arcturus
GALLERY CC
GALLERY F - GEORGE BROWN COLLEGE,
VISUAL ARTS
Gallery One
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Gallery Players
Gallery44
GALLERYWEST
GARAGE LIVING
Gardiner Museum
Gareth Crew - Freelance
GENDAI GALLERY
GENDAI WORKSTATION
Genesis Model Makers
George Brown College
Georgia Scherman Projects
Georgina Arts Centre and Gallery
GERRARD ART SPACE
Ghafari
Gibson House
Gibson Product Design
GiGi Importing
GIOTAN
Giraffe
Glendon Gallery
Global
Go Media
GOETHE-INSTITUT
GOODFELLAS GALLERY
GoodThree
Gourmet Settings
Government of Ontario
Gow Hastings Architects
GRAVEN FEATHER STUDIO & GALLERY
GRC Architects
Greenberg Consultants
Greenmelon
Grey Canada
Grip Limited
Hal Jackman Foundation
Hamilton Arts Council
Harbour Front Centre
Harbourfront Centre
Hatch Studios
Heffron Media
Heidi Earnshaw Design
HESA
Heist Media Design
Helen Marioncu Illustration
Heretic
Hermann & Audrey
HEW POP-UP GALLERY
Historic Zion Schoolhouse
Hockey Hall of Fame
Holdrege Design
Holt Renfrew
Honey Design
Hook
HOTEL OCHO GALLERY
Hudson's Bay of Canada
HUGHES DECORR
Humanscope
Humber College
Huronia Historical Parks
Ian Garrett - Freelance
Ian Zeigler
Iconix
id29
IDC Canada
Idea Couture
IDWS
IIDEX Canada
IKEA North America
Ilan Sandler Studio Inc
Images Festial
ImagiNative
IMAGINE ART GALLERY & SCHOOL
IMM living
Impact Machine
Impact Mobile
Impulse Studios
Incite Design
Indigo
Ingram Gallery
Inscape
Insomniac Press
INSPIRAMAX
InterAccess Electronic Media Arts
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Centre
INTERFUSION INC.
Interior Design Show (IDS)
Interior Designers of Canada
Interior Designers of Canada (IDC)
INTERIORS BY LYNNE
INTERIORS BY SUZART
Interpix Design
Intu Design
Iron Design
ISIS CANADA
Izzard Fine Art
Jacknife
Jacknife design
JACOBS LOUNGE VISUAL ARTS SPACE @
THE MILES NADAL JCC
Jam3 Digital Designs
Japanese Canadian Cultural Centre
Jar Creative
JAZZ BE NIMBLE
JBS GRAPHIC COMMUNICATIONS INC.
Jessica Bradley Art + Projects
JESSICA BRADLEY GALLERY
JGA
Joe Reinsel
John Baird
John St.
JOSEPH CARRIER GALLERY
Josh Owen
Jovan Rocanov
JPN Studios
JPRA Architects
JULIE M. GALLERY
Jump
Junction Design/UX Design Studio
Juniper Park
Justina Barnickle Gallery, University of
Toronto
Justina M. Barnicke Gallery
JWT
Kandel & Associates
HESA
KATHARINE MULHERIN
CONTEMPORARY ART PROJECTS
KATZMAN CONTEMPORARY GALLERY
KEK Associates
Kenny Chong Galleries
Keyframe Digital Productions
Keynote Media Group
KIEVER CONGREGATION
Kinder Design
Kinsman Robinson Galleries
Kite & Canary
Kleurvision
KLINE HOUSE
KODIAK GALLERY
Koffler Centre of the Arts
Kolectiv
Konrad Group
KPMB Architects
KUMF GALLERY
La Mama Experimental Theatre
LA PARETE GALLERY
LaDriere
Lake Effect Design
Lakeshore Arts
L'AMBIANCE DANCE CENTRE
LaQuatra Bonci Associates
Larry Wayne Richards Gallery
Lateral Office
LATIN AMERICAN ARTS CENTRE PILOT
PROJECT
Latino Canadian Cultural Association
LATITUDE 44 GALLERY
Launch by Design
LAUNCH PROJECTS
LAUNCH! Brand Marketing
Laura Watson
Lausberg Contemporary
Le Labo
LE LABORATOIRE D´ART
LENNOX CONTEMPORARY
Leo Burnett
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Leo Kamen
lg2
Liaison of Independent Filmmakers of
Toronto (LIFT)
Lift - Liaison of Independent Filmmakers
of Toronto
Limelight
LineBox Studio
Little Miss Bliss
LO SPECCHIO
Loch Gallery
LOMOGRAPHY GALLERY STORE
LONSDALE GALLERY
LOOP GALLERY
Loopmedia
LORRI'S DANCE STUDIO
Louis & Partners Design
Lowe Roche
Loyalist College
Loysen + Kreuthmeier Architects
LUCSCULPTURE GALLERY
Luminant Design
Luminato
LUX Design
Mabelle Arts
Macadamian
Mackenzie House
MADMACDESIGN INC.
MADUXX
Mako Invent
MALUCA Studios
Mamalian Diving Reflex
Mango Advertising and Design
MANIFESTO COMMUNITY PROJECTS
Mantra Partners Inc
MAPLE ACADEMY OF DANCE INC.
MAPLE DRAPERY & CARPET
Mark Neil Balson Freelance Graphic
Desiger
Mark Sommerfeld: freelance
photographer
Market Gallery
HESA
Markham Arts Council
Markham Museum
Marrello Art
Marshall Robinson
Matla Group
MAYA Design
MCCAUL ART GALLERY
McClelland & Stewart
MCMICHAEL CANADIAN ART
COLLECTION
ME TO WE Style
MEDIALINX PRINT & GRAPHIC
SOLUTIONS INC
Meld Media
MEMORY VIDEO PRODUCTIONS
Menu Toronto
Mercer Union
Meredith Potter, Meredith Potter Arts
Management
MERITVIEW DECORATING INC.
META GALLERY
Metcalf Foundation
Metro Toronto Convention Centre
Mettle Creative Services
MEXLEY MARKETING
MILK GLASS GALLERY
Ministry of Health and Long Term Care
Mira Godard Gallery
Miriam Shiell Fine Art
Mississauga Arts Council
Mitchell Marcus, Acting Up Stage
Company Inc.
Mizrahi
MKG127
MODULAR DESIGN SYSTEMS INC.
Moffatt Associates
MÒmalade
MONARCH TAVERN
Monnet Design
Monte Clark
Montgomery Sisam Architects
Montgomery's Inn
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MoreFrames
Morris and Sally Justein Heritage
Museum
Moss & Lam
MPP Marketing Group
Munge Leung
Municipal Cultural Planning Inc
Mural Routes
Musagetes Foundation
MUSAIC SCHOOL OF MUSIC
Museum of Canadian Contemporary Art
Museum of Contemporary Canadian Art
Museum of Inuit Art
MUSEUM OF NEW PAINTING
MyPlanet Digital
MZTV Museum of Television
NARWHAL
Navillus Gallery
NDGRAPHICS
Neilsoft Limited
Neilson Park Creative Centre
Neubacher Shor Contemporary
NEUBERGER HOLOCAUST EDUCATION
CENTRE
NEW AGE PRODUCTS INC.
New Design Group
Newmarket Arts Council Taskforce
Nexten Tech
Nicholas Metivier
No. 9 Contemporary Art
NORMAN FELIX ART GALLERY &
MANAGEMENT
North York Arts
Nottingham Spirk
NOVA SOLUTIONS
Nubrand
O´CONNOR GALLERY
Oakville Arts Council
OCAD U
OCAD UNIVERSITY GRADUATE GALLERY
Odon Wagner Gallery
OLA Interactive Agency
HESA
Olga Korper Gallery
OLYMPIC STARS DANCE ACADEMY
OMNI Radio
On Land Design Inc
One of a kind show
OneMethod
ONESPACE UNLIMITED
ONLY ONE GALLERY
Ontario Arts Council
Ontario Arts Council (Duplicate)
Ontario Arts Council (relevent staff)
Ontario Association of Architects
Ontario Association of Art Galleries
Ontario College of Art & Design
Galleries
ONTARIO CONSERVATORY OF MUSIC
Ontario Cultural Attractions Fund
Ontario Media Development Corp
Ontario Museum Association
Ontario Science Centre
ONTARIO SCIENCE CENTRE´S !DEA
GALLERY
Open Studio Gallery
Optic Lingo
Oral History Museum
ORCHARD RIDGE HOMES DECOR
CENTRE
ORGANIZATION/COMPANY NAME
ORGANIZED INTERIORS
Orillia & District Arts Council
Osborne Collection of Early Children's
Books
Outcrop Communications
Outside the March
Ove
Overit Media
OZ STUDIO & GALLERY
PAMENAR CAFE AND GALLERY
PAPERMILL GALLERY, TODMORDEN
MILLS
Parachute Design
Parallel Design
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PARI NADIMI GALLERY
Parliament Interpretive Centre
PARO
Partners + Napier
Partners Film (production company)
PARTS GALLERY
PAUL PETRO CONTEMPORARY ART
PEMBERTON DECOR CENTER
PENTIMENTO FINE ART GALLERY
PERFORMING DANCE ARTS
Petroff Gallery
PIERRE-FRANÇOIS OUELLETTE ART
CONTEMPORAIN
PIKTO
Pilot PMR
PIP Animation
Pittsburgh Public Schools
Pivot Design Group
Plastic Mobile
Playground
PM GALLERY
Pod 10
Polar Mobile
POLKADOT ART STUDIO
Power Plant
PPC Design
PRAXIS GALLERY
PROCESS D&C SOLUTIONS BY DESIGN
Process4
Product Tree
Pronk Graphics
PROOF STUDIO GALLERY
PROPELLER CENTRE FOR THE VISUAL
ARTS
ProtoSource
Push technologies
q30
Q4 Architects
Quadrangle Architects
Queen's Own Rifles of Canada
Regimental Museum
Quench
HESA
Quick Serve Restaurant Franchise
R. MCINNIS DESIGN ASSOCIATES
Raceseng Studio
RAINBOW CINEMAS
Ram
Ramsay Planning
Reactiv Post
Reactor Arts & Design
Rebrand Advertising + Design
Red Urban
Red Urban Canada
REDEYE STUDIO GALLERY
Redpath Sugar Museum
Refluxus
Reginald Bronskill - Freelance
Registered Graphic Designers of Canada
Renee Brode- Freelance
RES Exhibit Services
Rethink
Reuben & Helene Dennis Museum
Revolver Films
RGD
Rhoddy Design
Richmond Hill Arts Council
RICHVIEW LIBRARY GALLERY
RIM/ Blackberry
Riverdale Farm
Rivet
Rk Macdonald House
RK Studios Limited
ROADSIDE ATTRACTIONS
Rob Southcott Studio Works
Robert Birch Gallery
ROBERT KANANAJ GALLERY
ROCK THIS WAY! SCHOOL OF ROCK
Rogers Communications
ROM CONTEMPORARY CULTURE
ROSEDALE DINER
Ross + Doell
Rotman DesignWorks
ROXY'S DANCE
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Royal Canadian Military Institute
Museum
Royal Ontario Museum
Royal Regiment of Canada Museum
Rupal Shah, Nightswimming
Ryan Massiah
RYERSON IMAGE CENTRE
Ryerson Medical Centre
Ryerson University
Saatchi & Saatchi
Sage Media
Saint Mark's Coptic Museum
SALAM TORONTO WEEKLY
Sali Tabacchi
SAMUEL J. ZACKS ART GALLERY
Sandbox Inc./La Boite a Film
Sandox Films Inc.
Sapo Creative Studios
Sarah Armstrong - Freelance
SCARBOROUGH ARTS
Scarborough Museum
Scot Laughton
Scott Klinker
Scrap Metal Gallery
SEARCHENGINE ADVERTISING AND
DESIGN
Seneca College
set and props design
Sewell Evans
Shape Products
Sheridan College
Shikatani Lacroix
SHREEJI GRAPHICS INC.
Sid Lee
Silent Giants
SILKOGRAPHICS INC.
SIM Digital
Sirius Company
Sistema Toronto
SMART MEDIA
Smartshape
HESA
SmithGroupJJR
SO HIP IT HURTS
Society of Graphic Designers of Canada
Sodi Designs
Sooy+Co.
SoSweet! Creative
South Simcoe Arts Council
Spadina House
SPARK
Spark Innovations
SPENCE GALLERY
SPLASH GRAPHICS INC.
SPOTLIGHT VIDEO
Spring Line Design
St. John Design Group
Starbucks
STARLITE GRAPHICS & SIGNS
STARS DECORATION LTD.
Stephen Bulger Gallery
Stephen Crowhurst
Steve Zelle
Strange Ideas
Strano and Pettigrew
Stroudfoot
Studio for Spatial Practice
Studio Gallery
Studio Graphique
Studio Techne Architects
StudioVB
Subtle Technologies
Suissa Computers
Sundberg-Ferar
SUNNYSIDE BEACH JURIED ART SHOW
OFFICE
SUNSHINE DECORATION
SUSAN HOBBS
Sustainable.TO
Swave Studios
Sweeny Sterling Finlayson &Co
Architects
SYNDAKIT MEDIA
TAMASHAKHAMEH DRAMA SCHOOL
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Taras Shevchenko Museum
Target
Tarragon Theatre
TAXI
TAXI 2
TBWA Toronto26
TD Canada Trust
TDSB
Tectonic Design
Teknion
TEODORAART GALLERY
Textile Museum
Textile Museum of Canada
THE ARTS & LETTERS CLUB OF
TORONTO
The Arts Collective Roundtable of Elliot
Lake
THE BEVERLY OWENS PROJECT
The Bytown Group
The Center for Curatorial Studies and
Art
The Contemporary Zoological
Conservatory
The Creative Group
THE DANCE ZONE
The Design Edge
The Directive Collective
The Federal
The Globe and Mail
The Grange
The Hive
THE IMAGE COMMISSION
The Japan Foundation Toronto
THE LATIN AMERICAN ART CENTRE
COLLECTIVE
The Metcalfe Group
The Music Gallery
The Ontario Crafts Council
The Power Plant
THE RIVERDALE HUB COMMUNITY ART
GALLERY
The Studio Upstairs
HESA
The Toronto Star
THE VINTA GALLERY
The White Room
THE WHITEHOUSE STUDIO PROJECT
THE WOMEN´S ART ASSOCIATION OF
CANADA
THE WOODBRIDGE SCHOOL OF DANCE
Thomas Fisher Rare Book Library
ThoughtForm
Three Cedars Enterprises
TI AMO DECORATING SERVICES
TMX Equicom
Todmorden Mills Heritage Museum and
Arts Centre
Tom Rudman
TOMORROW GALLERY
Tony Wang
Top Drawer Creative
Toronto Alliance for the Performing Arts
Toronto Arts Council
TORONTO BALLROOM DANCE STUDIO
TORONTO CAR WRAP.COM
Toronto Centre for the Arts
Toronto Design Offsite
Toronto Dominion Gallery of Inuit Art
Toronto ETSY team
Toronto Free Gallery
Toronto Outdoor Art Exhibition
Toronto Police Museum and Discovery
Centre
Toronto Railway Museum
Toronto Reference Library
Toronto Rehab
Toronto Review of Books
Toronto Scottish Regiment Museum
Toronto Sculpture Garden
Toronto Society of Architects
Toronto's First Post Office
Town of Richmond Hill
Trait
Trapeze
TRASH PALACE
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TRG Studios
TRIAS GALLERY
Tsunami Glassworks
Typework
Typotherapy+Design
Uken Games
Ukrainian Museum of Canada Ontario
Branch
Umbra
UNIQUE DECORATIVE DESIGNS
University of Manitoba
University of Oxford (Oxford College of
Canada)
University of Toronto
University of Toronto Art Centre
University of Toronto at Scarborough
UofT Mississauga
URBAN ARTS
URBAN GALLERY
urbanproduct
URBANSPACE GALLERY
UTSC Arts Management
VAUGHAN ACADEMY OF MUSIC & ARTS
VERSO GALLERY
VIBE
VICTORIA BALLET ACADEMY
VIDEOFAG
VISUAL EDUCATION CENTRE LIMITED
Viva & Co
Vocon
VSVSVS
W designLab
Walt Disney Motion Pictures Canada
Waterwood Theatre Projects
Web Depiction
WELLEN
WESTON MUSIC SCHOOL
WFG Securities of Canada
Whippersnapper Gallery
WhiteSpace
William F. White International
HESA
Williams Design Studio
Williams Mill Visual Arts Centre
WilliamsCraig
Wingspan Design
Wojo Design
Women’s College Hospital
WOODBRIDGE ART SCHOOL AND
GALLERY
Words In Motion
Work In Culture
World Green Building Council
Wred
Xenophile Media
XPACE Cultural Centre
Y&R
Yabu Pushelberg
YAZI SCHOOL OF VISUAL ARTS
Yellow Car Design
York Museum
York Region Arts Council
YORK REGION MEDIA GROUP
York University
Young Centre for the Performing Arts
YYZ Artists' Outlet
Zebra Studios
Zeidler Partnership Architects
Zerofractal Studio
ZINK
Zulu Alpha Kilo
Gallery One
Arctic Bear.
Art Core.
Art Mine.
Beckett Fine Art Ltd.
City Gallery.
Cygnet Gallery.
Drabinsky & Friedland Galleries.
Elizabeth Legge Prints.
Feheley Fine Arts Inc.
Gallery Gevik.
Hittite Gallery.
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Hollander York Gallery.
Hy-Art Gallery.
Kinsman Robinson Gallery.
Miriam Shiell Fine Art.
Nancy Poole's Studio.
Pao & Moltko Ltd.
Prestige Auto Art & Gallery.
Sable-Castelli Gallery.
Sports Mint Inc. Yorkville.
Stuart Jackson Gallery.
Teodora Art Gallery.
The Guild Shop.
Yorkville Fine Frame.
A Space
Albert White Gallery
Alexandre Fine Antique Prints
Angell Gallery
Archive Inc. Gallery and Art Library
Artia Russian Fine Art Inc
Area Gallery
Annex Art Centre
Art Metropole
Bau-Xi Gallery
Bus Gallery
Cold City Gallery
David Mirvish Gallery
DeLeon White Gallery
East Queen Gallery
Edward Day Gallery
Gallerie Celine Allard
Faktorie Gallery
Gallery 133
Gallery 401
Gallery 44 - Centre for Contemporary
Photography
Gallery Moos Ltd.
Gallery TPW
Glass Art Gallery Inc.
Igor Mojzes Studio Gallery
HESA
InterAccess
James Allen Fine Art
Jane Corkin Gallery
Katrina's Art School & Gallery
Leo Kamen Gallery
Mercer Union
Moore Gallery Ltd.
Newman Gallery
Olga Korper Gallery
Open Studio
Pari Nadimi Gallery
Paul Petro Contemporary Art
Prime Gallery
Propeller Gallery
Red Head Gallery
Ryerson Gallery
S.O.F. Art House
Sculptor's Society of Canada
See Gallery
Show Gallery
Signs of Significance Inc
Simcoe Gallery
Stephen Bulger Gallery
Tableau Vivant Gallery
Tenth Muse Studio
The Arts Associates
The Network Gallery
The Glass Art Gallery Inc
The Red Salon
Toronto Image Works
Trias Art Gallery
Visual Arts Ontario (VAO)
Wedge Gallery
Women's Art Resource Centre (WARC)
Wynick/Tuck Gallery
Ydessa Hendeles Art Foundation
YYZ Artists' Outlet
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APPENDIX E: GEOGRAPHIC AREA COVERED BY
‘M’ AND ‘L’ AREA CODES
Obtained from: Canada Post
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APPENDIX F: DIGITAL FUTURES – TARGET
MARKET PROBE INTERVIEW INSTRUMENT
Key Informant Interview Instrument
Note: Below is the interview instrument used for the in-depth qualitative interviews for the
Digital Futures – Target Market Probe. These key informant telephone conversations lasted
roughly 30-45 minutes in length, and although they followed a predetermined and preapproved
interview instrument, conversations moved into a variety of areas, as interviewer (HESA
Research Associate, Mark Tagliaferri) explored a number of issues with respect to OCAD
University and Digital Futures program, at his discretion.
[T1_Age] What is your age?
Response
Younger than 18
18
19
20
Older than 20
Prefer not to say
[T2_ApplicationPlan] Are you planning to enrol in a university or college
program within the next two years?
Response
Yes, I plan to enrol in a new program within the
next two years
I am currently enrolled in a university or college
program
I will be applying to a graduate studies program
within the next two years
I do not plan to apply to a university or college
program within the next two years
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[T3_DecisionFactor] What is the MOST important factor to you when thinking
about where you will attend university or college?
Response
Cost
Location (close to home)
Job opportunities after graduation
Programs offered
Academic rigour
[T4_OtherFactors] What other factors are important to you when considering
where to attend university or college? (List up to 5)
[T5_WhyAttend] Why do you want to attend a university or college? [Coded
after]
Response
To gain skills and/or knowledge
To find job post-graduation
Parental Expectation
Make friends
Other
[T6_InstitutionPreference] Do you have any idea what institution you would
like to atttend?
Response
Yes
No
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[T7_institutionPreferenceTEXT]
[T8_ProgramChoice] What program would you like to enrol in?
[T9_CourseDesire] What course subjects would you be interested in studying at
university or college?
[T10_SkillsDesured] What skills do you most hope to acquire while at university
or college? [Coded after]
Response
Critical thinking and analysis of arguments
and information
Broad knowledge and education
Creative thinking and problem solving
Clear Writing
Persuasive Speaking
Technological Skills
Artistic Technique
Financial and Business Management Skills
Entrepreneurial Skills
Interpersonal relations and collaborative
working skills
Networking and relationship-building
Other
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[T11_AcceptanceFeeling] How do you think attending your ideal university or
college would make you feel?
[T12_RelativeImportance] I'm going to give you a series of questions, each with
two options, please tell me which of the two options is more important to you
when considering which university or college to attend.
Academic
Rigour
Employment
Total Responses
[T12_2]
Employment
Class size
Total Responses
Community
Academics
Total Responses
[T12_3]
[T13_OCADKnowledge] Have you ever heard of OCAD University?
Response
Yes
No
[T14_OCADKnowledge2] Have you ever heard of the Ontario College of Art and
Design?
Response
Yes
No
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[T15_FriendsOpinions] What do your friends say about OCAD University?
[T16_ParentalOpinions] What about your parents? What do your parents say
about OCAD University?
[T17_WordAssociation] When you think of OCAD University, what is the first
word that comes to mind?
[T18_StudentDescription] In your opinion, describe the type of student who
would attend OCAD University.
[T19_OCADStrength] How would you describe OCAD University's greatest
strength?
[T20_OCADWeakness] How would you describe OCAD University's greatest
weakness?
[T21_RelativeOCADAttributes] I'm going to ask you a series of questions, each
with two options, I want you to tell me which option better describes OCAD
University.
Conservative
Provicative
Total Responses
Traditional
Modern
Total Responses
Collaborative
Competitive
Total Responses
[T21_2]
[T21_3]
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[T21_4]
Individualistic
Collectivist
Total Responses
Structured
Flexible
Total Responses
Specialized
Diverse
Total Responses
[T21_5]
[T21_6]
[T22_OCADAtttendance] Have you ever visited the OCAD University campus,
spoken with an OCAD U representative, or attended a presentation hosted by
OCAD University?
Response
Yes
No
[T23_OCADProgramOffering] As far as you know, does OCAD University offer a
program in the area you hope to study?
Response
Yes
No
Not sure
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[T25_DigitalIndustry] Are you familiar with what is meant by the term "creative
digital industry?"
Response
Yes
No
[T26_CDIoptions] If you were going to enrol in a program that centred on the
creative digital industries, what universities or colleges would you likely
consider?
[T27_DFKnowledge] As far as you know, does OCAD University offer any
programs the focus on the creative digital industries?
Response
Yes, it does
No, it does not
Not sure
[T28_DFWordAssociation] When you hear the phrase "Digital Futures," what is
the first word that comes to mind?
[T29_DFProgramawareness] Have you ever heard of the Digital Futures
Program?
Response
Yes
No
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[T30_PossibleDFenrolment] Would you consider enrolling in this Digital Futures
Program
Response
Yes
No
Not Sure
[T31_AdditionalDFinformation] What additional information would you need
or want to be able to make a decision on enrolling in this program?
[T32_DFStudentType] In your opinion, describe the type of student who would
be interested in the Digital Futures program.
[T33_DFEmploymentProspects] In your opinion, what do you think are the
employment prospects for someone who graduates from this kind of program?
Response
High
Above average
Average
Below average
Low
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