AY 2014-2015 ACADEMIC PROGRAM REVIEW SELF-STUDY TEMPLATE
Reporting School/College: St. John’s College
Program Reviewed: Illustration BFA Q
Date Submitted to Department/Division Chair: 11/25/2014; section 6D revised 6/22/15
Overview and Program Review Summary: Please summarize this program’s mission and its relationship to the vision
and mission of St. John’s University, and the program’s School/College. Identify similar programs regionally and
nationally and distinguish this program from them. In addition, summarize your findings as they relate to (1) program
quality, (2) market growth potential, and (3) student learning. Also, summarize any significant changes, achievements
(by faculty and students and the program itself), and plans for the future. Finally, based on the information gleaned
from the data in the self-study, give an overall rating of the program’s Enrollment/Market Potential by categorizing it
as one of the following: (1) Enhance; (2) Maintain; (3) Reduce support, Phase out, Consolidate, or Discontinue.
(Suggested limit 1 page)
Mission:
It is the mission of the B.F.A. program in Illustration as taught within the structure of the Department of Art
and Design to properly instruct young artists in the tools, techniques, visual vocabulary, business practices
and history of the visual arts so that they will have the technical and intellectual preparation required for
the development of dynamic, thought provoking artistic statements. The instruction provided through the
B.F.A./Illustration program at St. John’s will enable its students to create works of art, which speak of the
narrative of our culture’s common experience, and its diversity. Instruction promotes creative solutions and
engages students in current practices in the filed of illustration as it relates primarily to publication and visual
narratives. Students in our program have the opportunity of living and studying in the metropolitan New York
area, and leveraging that experience to address global concerns.
Program Quality:
St. John’s University’s BFA programs are the only programs within New York City that is part of a large
comprehensive university and also is accredited by the National Association of Schools of Art and Design
(NASAD). This positions us as a leader, offering a visual arts curriculum of the highest quality, within a
liberal arts university setting, also providing students access to a metropolitan environment with
unparalleled resources for research, historical engagement and interning opportunities.
Student Learning:
Small studio classes, limited to 15, offer a competitive edge against other programs in the region,
which usually average 25-30 students in studio classes. Students in our program benefit from much
individualized attention both in class and through frequent communication with their departmental
mentor or advisor, as well as frequent informal contacts with faculty members.
In their senior year, students have the opportunity to transform the knowledge they have acquired in the
classroom into valuable, sought after skills, either through the completion of a thesis project or an internship,
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depending on their selected profession within the field. They work closely with a faculty member of their
choice, yet also receive feedback from the department as a whole.
Our rigorous assessment methods emphasize individual and group portfolio critiques that access the
student’s progress in all areas of creative and personal development. These critiques allow students to get
thoughtful and comprehensive feedback from the broad array of perspectives that our faculty embodies. Also
part of this assessment process is the many opportunities the students have to exhibit their creative work on
the Queens campus. The most prestigious of these events is the end of the year student exhibition held in the
Dr. M. T. Geoffrey Yeh Art Gallery.
The Illustration program is deeply committed to providing individualized attention to students in the
classroom and to engaging students in activities outside of the class that expand on concepts being discussed
with in the classroom while at the same time exposing students to the rich cultural offerings of the Greater
New York area. Examples are the Figure Drawing Evening Sessions, which run every Thursday evening
through the fall and spring semester and the monthly graphic novel sessions, which meet on Sundays and
also invite alumni to participate and share their current projects in this area. These sessions available to
majors and alumni serve to further develop their drawing skills and offer extended critiques on current
projects.
Because the illustration program is part of St. John's College of Liberal Arts and Sciences, students can choose
from a wide range of core and electives in the humanities, the social sciences, media studies, and business.
In conjunction with the Global Studies Program professors from the Illustration program often teach classes
in Rome. Global Studies is an invaluable addition to the student’s college experience. Being immersed in an
entirely new culture and language gives the students the opportunity to learn and engage in an international
setting where they encounter new challenges and opportunities for growth. Outside of the familiar walls of
the classroom the students are able to learn about art, culture and religion in its native and historical context.
It is our sincere hope that we will continue to provide a model for the University to follow as it recommits to
student engagement and Global learning.
Additional educational components that give our program a competitive edge include the development
of courses abroad such as Drawing and Design in Rome, Art and Architecture in Italy, and Painting in Paris.
Our studio and lecture courses are often enhanced with field trips to museums, galleries, and pertinent New
York City resources such as the Society for Illustrators. We tap the wealth of New York City’s
diverse creative talents and invite numerous guest speakers to address our students in their classrooms
and at the University Gallery. Our curriculum offers dynamic global programming of the University Gallery as
well as the development of art history courses with global and metropolitan concentrations such as: PreColumbian Art, Latin American Art, Contemporary Art and Culture and Women in the Arts.
Our seniors benefit from a choice of either a thesis or internship as their capstone experience. Seniors also
have the opportunity to exhibit their work at the prestigious Dorsky Gallery in Long Island City.
Market Growth Potential:
Illustrators have employment opportunities in numerous markets: editorial, advertising,
commercial print businesses, publishing houses, electronics media companies, and the fashion
industry. Illustrators produce narratives, information visuals, technical, medical, and science
illustrations for private and public sector organizations.
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Graduates of our program have the opportunity to find work in a number of settings, ranging
from major film companies like Disney and Pixar to animation houses, advertising agencies and
design studios, TV studios and gaming companies. Illustrators also work for book, magazine
and/or newspaper publishing companies, as well as for publishers of comic books and graphic
novels.
Career titles include:
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Art Director
Background/Matte Painter
Storyboard Artist
Character Designer, Animator
Concept Artist
Digital Painter, Matte Painter
Animator / Motion Graphics
Artist
Modelers, Modeling Supervisor
Visual Development Artist
2-D and 3-D Artists
Children’s Book Illustrator
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Editorial Illustrator
Instructional Illustrator
Magazine Illustrator
Mechanical Illustrator
Merchandise or Product Illustrator
Music Industry Illustrator
Newspaper Illustrator
Scientific or Medical Illustrator
Storyboard Illustrator
Technical Illustrator
Textbook Illustrator
The U.S. Bureau of Labor Statistics (BLS) expected Illustrators with a Bachelor’s degree and related
workers to have average growth of 3–7 % between 2012 – 2022.
Source: (http://www.bls.gov/ooh/arts-and-design/craft-and-fine-artists.htm#tab-6).
Salary.com reported in October 2011 that most technical illustrators earned between $39,943 and $73,131.
An illustrator with refined skills in digital technology can make up to $112,123 per year (national salary data).
(payscale.com, Sept.2014 data) From: http://education-portal.com/
Illustrators traditionally create images for print media, including magazines, newspapers and children's books.
Illustrators may apply their design skills to commercial products as well, creating greeting cards, stationery,
calendars and textiles, among other products. Freelance illustrators may find themselves with a variety of clients
working in diverse industries. They may create storyboards, video game objects, scenery, advertising or multimedia
graphics.
The U.S. Bureau of Labor Statistics (BLS) groups the salary information for illustrators with that of fine artists. In
May 2012, the average salary for these professionals was $54,000. California, Washington and Utah, according to
the same source, had the highest concentrations of fine artists.
Medical and Science Illustrator Job Description and Salary Info
Medical and science illustrators create images that are found in medical textbooks, science research journals,
wildlife magazines, botanical galleries, pharmaceutical publications, teaching audiovisuals and other mediums in
which detailed illustrations and models are required. These areas of illustration specialization require a background
in science or medicine as well as artistic skill training. Specialized programs are available for both aspiring medical
and science illustrators. Typically, medical and science illustrators earn dual bachelor's degrees in art or illustration
and science followed by graduate training.
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According to 2009 salary data from the Association of Medical Illustrators (AMI), medical illustrators earned a
median salary of $61,000, with the high end of the salary range being $150,000. Self-employed medical illustrators
earned more, according to the same data, with the median salary being $79,000. Scientific artists, according to
Salary.com, earn a median salary of $41,871, as of December 2013.
Faculty and Students:
The faculty in the Illustration program continue to exhibit and publish their creative work both nationally and
internationally and all are extremely active members of the professional and academic visual arts community in
New York and beyond. Faculty in the Illustration program receive recognition in the industry from Communication
Arts, 3x3 Magazine, Society of News Design, and Society of Publication Design for excellent in illustration. With
illustrations being published in the New York Times, National Law Journal, The Wall Street Journal, The Chicago
Tribune, and The Washington Post as well as showing their work in galleries nationally and internationally. Prof.
Adolphe was the keynote speaker at the International Symposium on Cultural Diplomacy 2014 at the UN, “The Role
of the Arts in the Contemporary Global Community: One Painters Perspective.” Prof. Kerr is nationally recognized as
an editorial illustrator and master draftsman. His work is continually published in newspapers and magazines
nationwide. Prof. Hergenrother, one of our adjunct illustration faculty, is continually in demand for his illustrations,
especially in the area of children’s books.
Since our program has become stronger and the quality of the incoming students has improved, we have
seen a marked improvement in the depth and sophistication of the creative work being generated by our
students. This has led to acceptance of St. John’s students into prestigious visual arts graduate programs,
including the School of Visual Arts in New York, The School of Design at The University of Pennsylvania,
Hunter College and the Maryland Institute College of Art.
The illustration program is also very proud to be a key component of the first and second year
experience for all students in various BFA programs, teaching foundation courses in drawing and
anatomy that are critical to students in both the illustration and fine art programs. The illustration
faculty also teach multiple sections of a variety of courses that act as general electives for students
university-wide.
Working with the student organization Art Club and the Learning Communities has allowed the
Department of Art and Design to collaborate on off campus activities and guest artists that engage
students in learning and experiences beyond the confines of the classroom. Additionally faculty who
teach in the Illustration program have organized numerous events that provide off campus activities.
These events provide informal venues that facilitate student-faculty interactions. They provide
collaborate learning experiences, and allow students from different years to meet and interact with
each other.
In addition to numerous new courses created to challenge both the novice and the advanced illustration
student, the Illustration department developed a breakthrough, online, studio art course that enabled
students studying anywhere in the world to participate. One example is Global Sketchbook. This course,
which also invites illustration students from around the world to participate in critiques and audit the
course, creates an truly rich global experience for our students. In this distance learning studio art
course, there are often students in several European countries who participate as well as from
numerous cities throughout the United States.
In the technology driven field that Illustration has become, continual reassessment is necessary and new initiatives
are also underway to incorporate 3-D printing into classroom instruction. Information Technology has recently
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acquired two 3-D printers and is making the technology available to students and faculty by request. 3-D printing
and its application in higher education still in the early stages of development but the software needed to scan and
model objects has broad applicability to space / exhibition design. It is our hope that the University will continue to
invest in innovative technology for use by faculty and students. If the 3-D printers we currently own were
augmented by a router and several other pieces of equipment St. John’s could position itself as a leader when
compared to peer institutions. The development of practical applications for 3-D printing and other fabrication
processes has the potential to provide students with real world proving ground for what are now just aspirational
ideas. In the area of illustration, 3D technology can engage faculty and students in narrative potentials and
animation techniques that can further enhance the program.
Enrollment/Market Potential:
From 2011 to 2013 the illustration program has seen a marked increase in the BFA program, increasing
8% in 2012 and 25% in 2013.
The U.S. Bureau of Labor Statistics (BLS) expected artists and related workers to have average
growth of 11% between 2012 - 2022 (www.bls.gov).
STANDARD 1. The purpose of the program reflects and supports the strategic vision and mission of St. John’s
University, and the program’s School/College.
1a.
What evidence can you provide that demonstrates that the program embodies the Catholic, Vincentian, and
metropolitan identity of St. John’s University? www.stjohns.edu/about/out-mission. (Suggested limit 1/3 page)
The Department of Art and Design considers the deeply personal nature of the education our students receive as
strong evidence of St. Vincent’s call to serve with deep empathy and humility. Two of our Department’s professors,
Prof. Joseph Adolphe and Prof. Belenna Lauto, are Senior Fellows of the Vincentian Center for Church and Society.
Each year exhibitions and events are planned by our faculty to enhance student community awareness regarding
our Vincentian traditions and values. Founders Week lends itself to specifically focus on issues of social justice, and
as such, our department has, over the years, been committed and involved with activities and exhibitions that bring
awareness to our founding patrons. During the last 5 years, in cooperation with the University Gallery, which our
department collaborates with, we have curated and/or worked with the Gallery Director, Parvez Mohsin on the
following exhibitions that exemplify our commitment to the mission and values of the University:
Silent Beaches, Untold Stories: New York City's Forgotten Waterfront, September 3 - November 9, 2013
Unpacking the FSA - The Photographic Archives of the Farm Security, March 20 - May 2, 2012
"Jeff Mermelstein: 9.11.01", Curated by Alex Morel, September 6 - October 29, 2011
Muslim/American, American/Muslim: Portrait of a Brooklyn Masjid, August 31 - October 28, 2011
Conversations from the Void, October 24, 2009 - January 10, 2010
These are 7,000,000 Bodies, September 1 - October 24, 2009
Images from the FDNY Photo Unit, January 27 - March 7, 2009
A Gathering of Witnessed Events, June 19 - July 19, 2008
African Influences on Contemporary Altars in the Americas: An Exhibition of Altars and Ritual Offerings,
March 12 - April 23, 2008
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In addition to the exhibitions mentioned above, the Illustration program participates in Department initiatives that
further confirm the program’s commitment to the Catholic, Vincentian and Metropolitan identity of the University:
•
Development of Study Abroad Programs in Rome and Paris that are designed, in part, to give students a deep
connection to the rich cultural heritage of Christianity
•
Many students in the B.F.A/Illustration Department who take summer programs abroad such as in Rome or
France participated in service activities designed to allow them to interact with and serve the poor.
•
B.F.A./Illustration students are involved in programs such The Very Special Arts Festival and exhibitions related
to Founders Week.
•
Students are always encouraged and mentored to use their skills to advance causes that affect those who are
less fortunate.
•
In the B.F.A. Illustration program we recognize that one of the ways that service learning can be most relevant
and meaningful is when it is directly connected to and tailored to a student’s field of study. To that end we have
developed service learning opportunities that are seamlessly integrated into classroom projects and curricula.
We also realize that service can be defined in multiple ways. We have students who are engaged in projects that
serve the university and the local community, such as the anti-drinking and anti-smoking media campaigns that
students have worked on and by creating work for exhibition based on that years Vincentian Theme for
Founders Week. But service through the effective communication of pertinent information is a growing area of
specialization within our discipline and students are encouraged to create work that takes advantage of this way
of using information as an opportunity to provide service. Illustration students have taught art to the seniors in
the Chapin Home, mentored children in Briarwood, and involve themselves in many community projects such as
the Very Special Arts Festivals and Founder’s Week exhibitions organized by the Vincentian Center. Their
projects and participation in these events enhance and develop the Vincentian influence both within the
University community and outside.
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Students participated for many years in a citywide exhibition at The National Arts Club, which featured the best
art students from all of the art schools in New York City. Our students won prizes each year they participated.

Students submit work and exhibit in several venues in New York City and Long Island, such as SOHO Photo
Gallery and the Syosset Library. Our students have also exhibited their artwork in a very well known gallery in
Rome, ‘Pulomone Pulsante’. Last year our Illustration Majors participated in a nationally touring exhibition of
their work, which was included in a sketchbook project. The Illustration Faculty also participated in the
sketchbook project.
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The majority of students who choose to do an internship do so within New York City institutions such as Lincoln
Center, The Metropolitan Museum of Art, Harper-Collins publishers, Nickelodeon, Marvel Comics and many,
many more. Some students are able to arrange internships abroad, and a few of our majors have obtained
internships in Italy or Thailand.

Every semester, individual classes design field trips so that students are exposed to the rich artistic and cultural
offerings of New York City. Specific courses such as Art in New York, which runs multiple sections each year, are
designed to expose the general student to the museums of New York City.
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1b.
What evidence can you provide that demonstrates that the program embodies the University’s vision.
www.stjohns.edu/about/out-mission/vision-statement. (Suggested limit 1/3 page)
The B.F.A. program in Illustration within the Department of Art and Design is commitment to studentcentered teaching to prepare young artists, to pursue careers as illustrators, cartoonists, or animators,
upon graduation. This is achieved through small class size (15 student maximum) and six credit hours
of contact in each studio class. The program is commitmed to instruct young artists in the tools,
techniques, vocabulary, traditions and history of their chosen profession, as well as to provide them
with visual communication skills to address issues of poverty and social justice.
Our BFA programs all strive to: “to preserve and enhance an atmosphere in which scholarly research,
imaginative methodology, global awareness and an enthusiastic quest for truth serve as the basis of
a vital teaching-learning process and the development of lifelong learning.”
1c.
What evidence can you provide that demonstrates that the program embodies the vision and mission of the
program’s School/College? (Suggested limit 1/3 page)
The B.F.A. program in Illustration functioning within the context of the St. John's College of Liberal
Arts and Sciences functioning within the Department of Art and Design, has the primary commitment:
the proper education of young artists, whether painters, printmakers, graphic designers, digital artists,
illustrators, cartoonists, or photographers. It is our commitment to instruct young artists in the tools,
techniques, vocabulary, traditions and history of their chosen profession, as well as to provide
them with a complete liberal arts education, so that they possess as comprehensive and substantive
an educational experience as possible. In this way, they will have the technical and intellectual
preparation necessary for the development of their own personal creative solutions, and the
means to make better-informed career decisions. With this in mind, we have five basic pedagogic goals,
which reflect the Mission Statement of our College:
• Student artistic development/technical abilities are developed.
• Student academic progress.
• Student progress toward the completion of chosen degree and career goals,
and preparedness to actively participate in their chosen field /profession.
• Develop critical thinking and analytical thought processes about illustration.
• Achievement of personal goals within field of Illustration.
Illustration courses whether required or elective engage students in a learning environment that is
conducive to increasing the understanding of their major. Critiques, discussions and guest speakers
enhance the structure and pedagogical goals of the program. Students are tasked to challenge
themselves, solve visual problems, and expand the historic understanding of their discipline.
Standard 1.
Additional comments if needed. (Suggested limit 1 page)
The B.F.A. Illustration faculty meets regularly to discuss all aspects of the program on a semester-bysemester basis to make sure we are providing the best quality education to our students. The
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Educational Policy Committee meets six to eight times throughout the academic year. Our commitment
to pursue accreditation for the National Association of Schools of Art and Design has engaged the faculty
in an intense, fundamental process of self-study that has led to a clearer awareness of both strengths
and weaknesses within the program. The Department of Art and Design is deeply committed to this
analytic process and strives to do the utmost to foster the power of visual arts expression and learning
relevant to the core values of St. John’s University.
Beyond the above stated program goals, it is our hope that students from all of the Department of Art and
Design BFA programs will create works of art and engage in creative activities that embody a level of poetic
communication expressive of our shared humanity. We strive for a classroom environment that cultivates
individual responsibility. It is also fundamental to our programs that students understand
that they are part of a global community and that art-making is a very powerful form of communication
with the potential to effect positive change in the world.
STANDARD 2. The program attracts, retains, and graduates high quality students.
2a.
Undergraduate SAT and High School Average
SAT
2005
2006
2007
High School Average
2008
2009
2005
2006
2007
2008
2009
Program
1130
1233
995
1150
1350
90
91
80
77
95
School/
College
1104
1099
1085
1093
1093
88
88
88
88
89
University
1068
1075
1075
1087
1092
86
87
87
87
88
Freshmen SAT Scores
Fall 2010
Fall 2011
Computed
FNA4 ILLUSTRATION
Fall 2012
Computed
1,238
Computed
1,040
960
Freshmen High School Average
Fall 2010
Fall 2011
High School
FNA4 ILLUSTRATION
Fall 2012
High School
90
High School
86
84
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SAT Scores
High School Average
2010
2011
2012
2013
2010
2011
2012
2013
School/
College - Q
1089
1077
1087
1098
88
88
88
88
Total University
1097
1087
1096
1104
87
87
88
89
SAT
Test-Takers
Intended College Major
Mean Scores
Number Percent (%) Critical Reading
Visual and Performing Arts
10,424
7.7%
Mathematics
Total
481
969
488
*For further information, please visit http://www.ets.org/s/gre/pdf/gre_guide.pdf.
Undergraduate 1st Year Retention Rate
2b.
Fall
2003
2004*
2005
2006
2007
2008**
# Fresh
Program
# Ret
%
100%
100%
100%
0%
1
0
0%
School/
College
77%
79%
77%
77%
73%
1005
768
76%
University
78%
78%
78%
79%
76%
3268
2557
78%
Note* The % of students started in Fall 2004 and returned to the program in Fall 2005
** The % of students started in Fall 2008 and returned to the program in Fall 2009
2009
Total
FNA4
1
2010
Returned
DNR
#
%
#
1
100%
Total
%
4
2011
Returned
DNR
#
%
#
3
75% 1
Total
%
25%
1
2012
Returned
DNR
#
%
#
1
100%
Total
%
2
Returned
#
%
2
100%
DNR
#
%
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Fall
2009
2010
2011
2012*
# Fresh
# Ret
%
School/
College - Q
76%
74%
72%
905
683
76%
Total University
78%
78%
76%
2757
2195
80%
*The % of students started in Fall 2012 and returned to the program in Fall 2013
2c.
Undergraduate 6 Year Graduation Rate
Fall
1999
2000
2001
2002
2003
Program
0%
0%
School/
College
Average Rate
61%
59%
58%
60%
57%
University
64%
59%
61%
61%
58%
Fall 2004 cohort
Total
FNA4
1
Graduated
1
100%
100%
Fall 2005 cohort
Total
2
Graduated
2
100%
Fall 2006 cohort
Total
4
Graduated
4
100%
Fall 2007 cohort
Total
2
Graduated
0
0%
Fall
2004
2005
2006
2007
School/College
Average Rate - Q
57%
57%
57%
51%
Total University
58%
58%
59%
55%
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2d.
Graduate Standardized Test Scores
Comments: Refer to Charts 2a – 2d in your response. (Suggested limit 1/2 page)
In most cases the program SAT, high school averages were in line with the College average and higher than the
national averages for students entering the visual and performing arts.
Retention rate average from 2009 – 2012 for Illustration major is 94%, which is 19-14% higher than the college and
university’s average for the same time period.
St. John’s University freshman retention rate 78.3 percent; source U.S. News & World Report.
Graduation rate average from 2004 – 2007 for Illustration major is 75%, which is 24-20% higher than the college
and university’s average for the same time period.
St. John’s University 6 year graduation rate 56.9 percent; source College Factual.
2e.
Please describe how the program compares with peer and aspirational institutions.
(Suggested limit 1/2 page)
In 2011 the our freshman B.F.A. Illustration retention rate was 100 percent compared to SVA’s (School of Visual
Arts) over all First-Time in College (FTIC) rate of 80 percent. SVA is a peer NASAD accredited institution with a much
larger enrollment within the New York metropolitan market. In comparison to an aspirational NASAD accredited
instruction RISD (Rhode Island School of Design) our program matches their 94 percent retention average.
NASAD accredited institution retention rates:
- Pratt Institute freshman retention rate 83 percent; source U.S. News & World Report.
- Syracuse University freshman retention rate 91.8 percent; source U.S. News & World Report.
- Skidmore College freshman retention rate 93.5 percent; source U.S. News & World Report.
- Alfred University freshman retention rate 74 percent; source U.S. News & World Report.
- Fashion Institute of Technology freshman retention rate 86 percent; source U.S. News & World Report.
Non-NASAD accredited institution retention:
- Adelphi University freshman retention rate 83 percent; source U.S. News & World Report.
- Columbia University freshman retention rate 99 percent; source U.S. News & World Report.
- CUNY Queens College freshman retention rate 87 percent; source U.S. News & World Report.
- Fordham University freshman retention rate 89 percent; source U.S. News & World Report.
- Hofstra University freshman retention rate 78.3 percent; source U.S. News & World Report.
2f.
If applicable, describe the program’s student performance over the past five years on licensure or professional
certification exams relative to regional and national standards. (Suggested limit 1/4 page)
N/A
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2g.
Number of majors and minors enrolled over the past five years. See table below.
Fall
Number of
Students
2006
2007
2008
2009
Majors
12
14
16
11
10
Minors
0
0
0
0
0
Total
12
14
16
11
10
MAJORS
2h.
2005
FNA4
Fall 2010
Fall 2011
Fall 2012
Fall 2013
Majors
Majors
Majors
Majors
BFA
11
11
12
16
Number of degrees granted during the past five years. See table below.
Academic Year
Degrees
Granted
04/05
05/06
06/07
07/08
08/09
BFA/
3
2
3
4
4
SJC -UG-Q FNA4
Illustration
BFA
11/12
12/13
Degrees
Conferred
Degrees
Conferred
3
2
Note: there are no students who have graduated from this program from the 10/11 academic years.
Below is comparison degrees conferred data for local and national institutions based on data retrieved from the IPEDS
website. This is based on the Classification of Instructional Program (CIP) Code of 50-Visual and Performing Arts.
20092010
20102011
20112012
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Local
1,938
1,974
2,017
National
95,797
91,802
93,956
1
Local institution include: Adelphi University, Columbia University, CUNY Queens College, Fordham University,
Hofstra University, Iona College, C.W. Post University, Manhattan College, New York University, Pace University,
Seton Hall University, Stony Brook University, and Wagner College.
Comments : Based on the data in 2g and 2h, how do these trends compare to institutional, regional and national
patterns? (Suggested limit 1/2 page)
TABLE BELOW- NASAD Accredited Private Institutions: 100-200 majors offering Bachelor of Fine Arts or Equivalent
Art/Design Major
Enrollment Fall
2009-2010
Number of
Institutions with
Majors
13
1311
Number of Degrees
Awarded July through June of
the years given
274
2011-2012
22
2525
527
2013-2014
20
2058
476
When looking at program specific information the information given is more general since data only exists for all
NASAD institutions and is not available with more specific size criteria. NASAD surveys from 2009-2014 indicate
that out of an average of nearly 7000 Illustration majors in 56 four-year programs conferring B.A. and B.F.A.
degrees, an average of 1460 students are graduated annually or 20% of majors. As the number of NASAD
accredited degree granting institutions has increased so has the number of students who are awarded degrees
each year. Overall the graduation rate for peer institutions has remained relative consistent and we see that trend
mirrored within our own program. The NASAD data cited here can be found in the National Association of Schools
of Art and Design (NASAD) Higher Education Data Services’ report on Art and Design Data Summaries from 20092014 (https://secure3.verisconsulting.com/HEADS/)
Table below: Enrollment for all NASAD institutions according to major: Illustration
2009-2010
2011-2012
2013-2014
Number of
Institutions with
Majors
Art/Design Major
Enrollment Fall
55
61
53
6855
7478
6745
Number of Degrees
Awarded July
through June of the
years given
1326
1446
1604
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FNA4 – Illustration has an incomplete data set on 4-year graduation, based on available data the 4-year graduation
rate is 19 percent. The illustration program graduation rates mirror NASAD Illustration programs.
FNA4 – B.F.A. Illustration requires 132 credits, while other NASAD accredited institution credit requirements are
120 – 128 credits. A B.F.A in Illustration is around 30 credits more than a B.A. in the applied arts. The difference
means many B.F.A candidates take more than 4 years to graduate.
NASAD accredited institution in the New York market 4-year Graduation rates:
- Pratt Institute 4-year Graduation rate 42 percent; source U.S. News & World Report.
- Syracuse University 4-year Graduation rate 69 percent; source U.S. News & World Report.
- Skidmore College 4-year Graduation rate 83 percent; source U.S. News & World Report.
- Alfred University 4-year Graduation rate 44 percent; source U.S. News & World Report.
- Fashion Institute of Technology 4-year Graduation rate 70 percent; source U.S. News & World Report.
NASAD accredited institution 4-year Graduation rates:
- Adelphi University 4-year Graduation rate 53 percent; source U.S. News & World Report.
- Columbia University 4-year Graduation rate 88 percent; source U.S. News & World Report.
- CUNY Queens College 4-year Graduation rate 25 percent; source U.S. News & World Report.
- Fordham University 4-year Graduation rate 76 percent; source U.S. News & World Report.
- Hofstra University 4-year Graduation rate 50 percent; source U.S. News & World Report.
2i.
What mechanisms are in place to monitor students’ progress toward degree? And, to what extent is there a
collaborative effort to provide quality advising and support services to students? (Suggested limit 1/4 page)
The Illustration program participates in an assessment and implementation process shared by
the Department of Art and Design. Illustration students are subject to a rigorous portfolio review every semester.
There is also a juried Student show each year. Ongoing exhibitions are displayed on the fourth floor and on the “B”
level display cases. Each student is personally reviewed during Professional Portfolio to assess preparedness for
internships. Faculty members are always available by appointment for portfolio review and the annual report
summarizes student accomplishments within our major.
Student Assessment:
 Student portfolio reviews: one per semester.
 Annual juried student show at the Dr. M. T. Geoffrey Yeh Art Gallery.
 Students are scheduled to meet each semester with an Art Department advisor to review their academic
progress toward the completion of their degree program.
 At the end of each semester, most Faculty members hold individual student conferences and critiques in order
to review the term's work and individual progress and effort.
 Exhibition Areas on the fourth floor and on the “B” level display class work and/or Senior Thesis work.
 Reviews are conducted each semester of the "Professional Portfolios" that seniors have produced in order to be
considered for Internships.
 Each student has individualized conferences with Chairperson and/or Internship Advisor concerning internship
placement.
 Faculty member is assigned to individualized supervision of interns. Two group meetings are scheduled each
semester with the students who are on internship and an “on the job site” visit is planned with the intern, faculty
and internship supervisor. Interns have recently been asked to save their internship work and personal
Internship presentations as PDF files, which are gradually creating an “Internship Library” located in the Art
Office.
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




Students may request an individualized critique of their artwork by faculty.
Annual report summarizes student accomplishments.
Course evaluations are distributed to students at the end of each semester.
Assessment sheets are provided to the University annually after spring portfolio reviews.
Portfolios accepted for program as freshmen are now kept in student’s file in order to better assess the artistic
growth of each student.
Further opportunities for professional assessment of student work are provided through exhibition initiatives that have
enabled students to exhibit their work in professional venues.
Since Outcome Assessments are quickly becoming an institutional priority, the Department has developed the following
additional methods for determining current status and future strategies:
a.
Assessment forms were sent to approximately 340 alumni during 2008-09 and a new survey is set to be
distributed to alumni by the end of this year.
b.
Student-Faculty Forum was established in April 2001 and has become a valuable tool to foster direct
communication with students.
c.
An alumni outreach plan is being further developed. Since 2012 we have organized several alumni
programs including a 50 Year Anniversary Alumni Art Exhibition and dinner, an alumni barbecue, alumni career
panels and alumni Facebook and Linked groups. Our alumni often serve as mentors to our seniors and often
come to visit and share their stories.
d.
A Graphic Novel Group, organized by Prof. Kerr in 2012, meets once a month to review larger narrative
projects and work done by alumni and students in the program. Works as diverse as graphic novels, children
book and character design have been presented. There is also a social media presence found
at: https://www.facebook.com/groups/1422782147982725/ that covers activities by the illustration major
and this group.
2j.
If available, provide information on the success of graduates in this program as it relates to employment or
attending graduate school. (Suggested limit 1/4 page
Tim Rauch (Illustration 2006) and Michael Rauch own and operate Rauch Brothers Animation. Rauch Brothers
Animation studios produce StoryCorps animations and have received 3 Emmy nominations, 2 Annie nominations,
14 million+ views online and a Peabody winner.
Christopher Lauto (Illustration 2009) is working towards his M.F.A. in Studio Art at Queens College, and is teaching
at St. Anthony's High School, S. Huntington, NY.
James Kerigan (Illustration 2012) is working towards his M.F.A. in Illustration at School of Visual Arts.
Jennifer Decio (Illustration 2002) is working as Graphic Designer at Schneps Communications, Bayside, NY
Iandry Randriamandroso (Illustration 2004) earned his M.A. in Community Arts at The Maryland Institute, College
of Art in Baltimore, MD. Currently working on numerous publicly funded, citywide murals in Baltimore MD.
Keri Dodge (Illustration 2010) Freelance Illustrator and is working at Hi Tech Photography Events, Melville NY.
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Gabriella D’Abreau (Illustration 2010) Artist, Graphic Designer and Illustrator, currently An Associate with The
Ministry of the Arts and Multiculturism, Trinidad and Tobago
Liz Taurisani (Illustration 2006) Art Director at NY Arts Magazine, and Senior Graphic Designer at Adspaceink and
Magic Interactive
Jenny Limberg (Illustration 2003) M.F.A. Illustration, School of Visual Arts, NYC. Art Department Chairperson Mary
Louis Academy, Queens NY.
April Hogue (Illustration 2010), Currently working as a Freelance Illustrator and designer
Theresa Flaherty (illustration 2010) Currently working as a Freelance illustrator.
Bill Finn (Illustration 2000) M.F.A. Illustration, School of Visual Arts, NYC ’02 Currently
Katrin Astarita, (Graphic Design with an interest in Illustration 2011) Currently working as a freelance illustrator and
designer At Beamly
David Merrique (Illustration 2012) Web developer at MZ Wallace in NYC.
Max Hergenrother (Illustration 2002) M.F.A. Illustration, School of Visual Arts, NYC, ’04 Art Teacher and freelance
illustrator
Danny Dasilva (Illustration 2000) M.F.A. Illustration, School of Visual Arts, NYC 2006, Art teacher, painter and
freelance illustrator
Michelle Kiela (Illustration 2003) M.F.A. Illustration, School of Visual Arts, NYC 2005 Currently a freelance illustrator
and designer. Recent clients include Century Media, Nomaterra Fragrances, and Spa & Bodywork Market. Michelle
has worked on projects ranging from beauty product packaging and CD/LP layouts to print/e-book layouts, catalogs
and image retouching/manipulation.
Olivia Infante, (Illustration 2010) currently working as a freelance Illustrator and graphic artist
Catherine Corrigan, (Illustration 2010) currently working as a freelance Illustrator and graphic artist
2k.
Please comment on the students’ competencies in the program. Support your response using data provided
below and any other data available. (Suggested limit 1/3 page)
B.F.A. candidates in illustration have maintained a 3.1 – 3.3 cumulative GPA in a 132 credit program, which exceeds
the SJC average.
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Standard 2.
Additional comments if needed: (Suggested limit 1 page)
STANDARD 3. The program engages in ongoing systematic planning that is aligned with the University and
School/College planning, direction, and priorities.
3a.
How does your program’s strategic goal/objectives link to your School/College plan and the University’s strategic
plan? http://www.stjohns.edu/about/leadership/strategic-planning
As stated in other sections of this report, the Illustration program at St. John’s University is deeply committed to
providing individualized attention to students in the classroom and to engaging students in trips and activities
outside of the class that expand concepts being explored in the classroom, while at the same time exposing
students to the rich cultural offerings of the Greater New York area. Our record of engagement with students
outside of the classroom is exceptional. The number of guest speakers, planned field trips and symposiums are
too many to list. Our record of engagement with students inside and outside of the classroom is exceptional and
serves to support repositioned The Strategic Plan: 2011-2014, providing a quality education, student experience,
career placement and furthering education in the context of the university’s Catholic and Vincentian Mission while
promoting diversity and global Awareness.
In the B.F.A. Illustration Program we recognize that one of the ways that service learning can be most relevant
and meaningful is when it is directly connected to and tailored to a student’s field of study. To that end we have
developed service learning opportunities that are seamlessly integrated into classroom projects and curricula. We
also realize that service can be defined in multiple ways. We have students who are engaged in projects that serve
the university and the local community, such as the anti-drinking and anti-smoking media campaigns that students
have worked on and by creating work for exhibition based on that years Vincentian Theme for Founders Week. But
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service through the effective communication of pertinent information is a growing area of specialization within our
discipline and students are encouraged to create work that takes advantage of this way of using information as an
opportunity to provide service.
Working with the student organization Art Club has allowed the Department of Art and Design to collaborate on
off campus activities and guest lectures that engage students in learning and experiences beyond the confines of
the classroom. Additionally faculty who teach in the Illustration program have organized numerous events that
provide off campus activities. These events provide informal venues that facilitate student-faculty interactions,
they provide collaborate learning experiences, and allow students from different years to meet and interact
with each other. Engagement also occurs among students both within and outside our program.
As mentioned in previous sections, through the Global Studies Program, professors from the Illustration Program
teach classes in Rome. Global Studies is an invaluable addition to the student’s college experience. Being immersed
in an entirely new cultural and language gives the students the opportunity to learn and engage in an international
setting where they encounter new challenges and opportunities for growth.
It is our sincere hope that we will continue to provide a model for the University to follow as it recommits to
student engagement and Global learning.
3b.
What is the evidence of monitoring the external and internal environments, specifically what are the strengths,
weaknesses, opportunities and threats facing the program? How were they identified? What actions have been taken
in response to these findings? What characteristics of the program suggest a competitive edge against other programs
regionally and nationally?
The Department of Art and Design annually evaluates its mission, goals and outcomes. From 2010 to 2013 the
Department of Art Design prepared annual reports as required by the National Association of Schools of Art
and Design’s Commission on Accreditation in response to their Visitors Report of 2010. The NASAD Commission
Action Report cited issues with our facilities and curriculum that needed to be addressed and upgraded to
NASAD standards, to be eligible for full membership. Working closely with the support of the Dean’s Office
of St. John’s College and the Department of Design and Construction, significant facilities issues were resolved,
and curriculum revisions were made in the Fine Arts, Graphic Design, Illustration and Photography programs in
response to NASAD’s 2010 Visitors Report. At NASAD’s April 2012 meeting, based on the 2012 Commission Action
Progress Report submitted by the Department of Art and Design, NASAD voted to grant full membership to Saint
John’s University.
The initial self-study Document prepared for NASAD was prepared and drafted by Belenna Lauto who served
as department chair from 1998-2004. Information within the report, including goals, objectives and plans for
improvement, were collectively gathered through various sources including the following: previously published
university material, departmental annual reports, 1997 self-study initiated by then Chairperson, Prof. William B.
Ronalds, as well as assessment information which was made available through various resources. Prof. Belenna
Lauto prepared the 2003-04 self-study, with the help of full-time faculty. The completed draft was then
distributed to the departmental full-time faculty for revision, additions, suggestions and discussion. The Dean,
Dr. Jeffrey Fagen of St. John’s College was then provided with a copy for further analysis. From 2010 – 2013 the
annual responses to NASAD’s Commission Action Report required the department to document corrective
action taken by the department and University in resolution of outstanding curriculum and facilities issues that
were cited in NASAD’s “2010 Visitors Report”. This updated Self-Study and resulting report, prepared by Ross
Barbera who served as department chair from 2010 – 2013, resulted in full accreditation.
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The next full On-Site review by NASAD will be in April 2015. The Department of Art and Design is currently in the
process of preparing for this upcoming visit by NASAD representatives.
It is important to note that the University has always quickly responded to the concerns of external evaluators.
The chart that follows indicates areas for improvement that were cited by NASAD’s Accreditation Team of 2010
The following table lists s areas of weakness that were identified in the NASAD 2010 Visitors Report and
corrective actions taken by the Department of Art and Design:
Areas of weakness that were identified in the NASAD
2010 Visitors Report
Safety concerns, especially in the mezzanine level were
cited the NASAD 2010 visitors report. Security cameras and
controlled access systems were nonexistent in these areas.
Some studios were accessible to anyone from the outside.
Students complained about feeling unsafe when they are
working alone in the SJH studios after hours.
Corrective actions taken by the Department of Art and
Design
In December of 2010 the Department Chairperson, Ross
Barbera together with the Dean of St. John’s College, and
the Vice President of Public Safety, Mr. Thomas Lawrence,
reviewed all department facilities for safety
enhancements.
This review resulted in security upgrades for most art
studios located in SJH. The security enhancements involved
the installation of strategically placed cameras and card
swipe systems at designated entry and exit points to the
art studios located on the mezzanine level and 3rd & 4th
floor art studios of St. John’s Hall. As part of this security
upgrade, new fire doors were installed on the mezzanine
level doors during the spring of 2011. These doors only
permit exit to the outside, and no inside entrance is
possible through them.
To insure our student's safety during off-hours, the
Department of Art and Design, in conjunction with Public
Safety, has a student monitoring procedure in place to
control student access to studios. Public Safety requires
that the Art Department maintains a list of students' who
have been approved to use the studios during off hours.
We provide Public Safety with an updated version of this
list at the start of every semester, and security is notified
whenever new students are added during the course of the
semester. Only students on this list are permitted to access
the art studios. The process requires that all students call
Public Safety to be let in when they are actually at the
studio door. At the time of entry, Public Safety physically
checks the student ID before permitting studio access. In
addition to this, security officers patrol on foot and check
all art studios periodically during off-hours. All art
department studios, classrooms and hallways are equipped
with phones that directly connect to the central security
office, and the security phone extension number is
predominately displayed in a red sign above every phone.
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The NASAD Commission:
The current physical environment used by the Department
of Fine Arts presents a number of issues and concerns.
Saint John's Hall houses the department offices and
classrooms divided on a number of levels within the
building. The distribution of teaching spaces in Saint John's
Hall appears patchwork as opposed to planned.
Additionally, the department's course offerings are divided
between Sullivan and Saint John's Hall &which seem to
create a disconnect within the department.
The need for a University community “Fine and Performing
Arts Building (or designated space with integrated
facilities),” which can serve as a hub for creativity for the
entire the campus community is acute.
Moving the Department of Art and Design to new space (in
the old University Center) and creating integrated art and
design-making facilities was included in the 2008 strategic
plan. Unfortunately, the designated space was used for
other purposes and when the revised strategic plan was
unveiled moving our Department was no longer included.
Until this goal is realized, the Department of Art and Design
will continue to address the location and quality of the
existing art and design facilities and will work to ensure
that our students are safe and can productively work in the
existing environment.
3c.
What is the current and future market demand for the program? Support your response using the data
provided below or any other internal or external sources to justify your response.
From 2011 to 2013 the illustration program has seen a marked increase in students, increasing 8% in
2012 and 25% in 2013.
The U.S. Bureau of Labor Statistics (BLS) expected artists and related workers to have average
growth of 11% for 2012 – 2022. Source: (http://www.bls.gov/ooh/arts-and-design/craft-and-fineartists.htm#tab-6).
Based in industry demand the illustration program should grow at a rate of 4–11 percent. From
2011 to 2013 the illustration program demand is within and exceeding that growth.
Salary.com reported in October 2011 that most technical illustrators earned between $39,943 and $73,131.
An illustrator with refined skills in digital technology can make up to $112,123 per year (national salary data).
(payscale.com, Sept.2014 data) From: http://education-portal.com/
Standard 3.
Additional comments if needed: (Suggested limit 1 page)
The use of illustrations to supplement large data sets and communicate complex ideas in print, and online media
is increasing. Furthering the industry demand for image professionals to illustrate ideas into a visual narrative. In
addition, there is a recent interest within the education community for the creation and development of
textbooks as “graphic novels”.
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STANDARD 4. The program provides a high quality curriculum that emphasizes and assesses student learning and
engagement.
4a.
Please indicate how the program curriculum is in alignment with the following three items:
(Suggested limit 1/2 page for each of the three categories below)
1. Standards within the discipline
2. Curriculum integrity, coherence, academic internships, teaching excellence, teaching vibrancy,
and study abroad experiences.
3. The University Core competencies
1. Standards within the discipline
The Department of Art and Design is accredited by National Association of Schools of Art and Design (NASAD)
and meets NASAD’s standards of Art’s education.
In order for a student to be eligible for admission to any of our BFA programs the following minimum criteria
must be met:

85 or above High School average

A minimum score of 950 in the SAT

An accepted portfolio of original creative work. This portfolio is assessed personally by one of the full-time
members of the department.

In addition, a portfolio consisting of 15-20 original pieces, using a variety of materials is required of all
prospective BFA students. High school seniors and/or transfer students are encouraged to present their
portfolio via slideroom.com or by a scheduled appointment with a faculty member.
2. Curriculum integrity, coherence, academic internships, teaching excellence, teaching vibrancy, and study
abroad experiences.
Retention is addressed by establishing clear communication among student, faculty, advisors and the
Department overall. Students are offered opportunities for developing their potential as well as to discover
the resources available to them on a consistent basis. Each year, aside from the University's freshmen
orientation events, the Art Department offers incoming freshmen an “art student orientation day” which
all freshmen are invited to attend. All full-time Faculty are present during this busy day which includes an
introduction to the Department by the Chairperson, a presentation of our internal department site,
sjuartdesign.com, useful information regarding the art/museum resources in NYC, lunch with the art faculty,
a tour of the Department, studios and library art resources, and an introduction to the satellite digital labs in
order to familiarize students with the systems and Departmental procedures.
The University has also implemented a Learning Communities Program in which all freshmen art majors are
encouraged to participate. Several of the Department Faculty are actively involved with these Communities
and some of the freshmen studio classes are linked with Core classes in order to encourage collaboration
between disciplines.
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The Grade Point Average required for retention is: 2.0. Students maintaining at least a 2.0 cumulative
quality point index are considered to be in non-probationary academic standing. When the cumulative
quality point index is below 2.0, but in the judgment of the Dean, the student is considered to be making
acceptable progress toward a 2.0, the student is placed under academic probation, but is permitted to
continue on a matriculated basis with a limited program of 12 credits (or 4 courses) until he/she attains
satisfactory academic standing.
For graduation, the BFA student must complete 132 semester hours with a cumulative quality point index of
2.0 for all courses taken, and a cumulative quality point index of 2.0 for all courses in the major. It should be
noted that most of our students perform well above this minimum level.
Academic Internships
Illustration students have the option of doing an internship or a thesis project. Currently many Illustration BFA
students are choosing to do both in order to increase their chances of procuring employment in this challenging
job market. All BFA students must take a portfolio class (Art 3110), which prepares them to apply for an
internship in the most professional way possible. Besides the creation of both physical and online portfolios,
the coursework for this class includes making a business card, writing a cover letter and contacting employers
for potential internship opportunities. The students in the Illustration Program have been extremely successful
in securing a wide variety of internship placements; including graphic design firms, book and magazine
publishing companies, motion graphics firms, web design firms and museums. Each student has individualized
conferences with the faculty member assigned to supervise interns. Two group meetings are scheduled each
semester with the students who are on internship and their faculty advisor. The Department of Art and Design
maintains a internship placement database which is located in the Art & Design Department Office and available
to any student who wishes to research possible locations/companies for internship or employment.
Our internship program is used by virtually all Illustration majors and it ensures that we graduate high quality
students that are ready for to assume professional roles as Illustrators. The internship component of our
program is supported by a preparatory class called Professional Portfolio (Art 3110). Students who have
completed their internships give a presentation to younger majors and faculty at the end of their experience.
We have also worked with our student association ART CLUB to institute a program where recent graduates
return and talk about their achievements since graduation, the realities of the job market and give advice to
current students. We have found that these informal lunches (the Department of Art & Design provides free
pizza) are consistently attended by about half of our majors and not only provide useful information but
sometimes even lead to internship or job placement opportunities for motivated students. The Department also
works closely with the Career Center in order to encourage students to use these services effectively.
Study Abroad
The Department of Art and Design runs summer study abroad courses in Paris and Rome throughout the year
both in semester long and short-term programs. Both full-time and adjunct faculty from Queens currently teach
in the short-term faculty led programs. The Department has plans to send a full time faculty member to our
campuses abroad on a rotating basis for semester long programs beginning in 2016.
Historically students in the Department of Art and Design were frequent participants in short-term study abroad
sessions but in more recent years our students are more likely to take advantage of semester long programs in
Rome or Paris (with only a few students choosing other locations). To facilitate the study abroad experience, the
Department of Art and Design begins introducing options for abroad experiences in the Departmental Freshman
orientation. Several programs including Illustration have also designated a particular semester (in most cases
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LAS_FA_ILLUSTR_BFA_Q
second semester sophomore year) when study abroad will more easily compliment the requirements of the
curricula and won’t result in them falling behind in any of the program’s major classes. This focus on finding an
ideal time to incorporate study abroad has been particularly important as the BFA degree necessitates 132
credit hours for graduation and fitting in extra classes and activities can be challenging. The Department of
Art and Design is proud to have a cohort of students studying abroad every year. It is our hope that with
encouragement from their classmates, proper departmental procedures in place, and ongoing support from
the University the number of Art and Design students who study abroad will continue to increase.
3. The University Core competencies
Illustration is structured around a combination of critical thinking, information literacy, skillful writing, oral and
visual presentation and communication skills. There are four major steps involved in the Illustration process;
1) Briefing; covering project objectives, communication goals, timing and budget, 2) Brainstorming, developing
and presenting visual solutions and being able to clearly articulate creative decisions, 3) Artwork, together with
4) Production; the formal and technical processes involved in creating the final visual solutions. Successfully
educating students in all of the formal and technical competencies of the Illustration process covers most of the
University Core Competencies, thus ensuring that our graduates will flourish in their professional careers and be
able to provide their clients creative and well-thought out work that exceeds client expectations. Core
Competencies not covered in Illustration studio classes are covered in Art and Design History classes, other
studio classes, and Core Liberal Arts and Sciences. Integral to the successful illustrator are creative writing skills,
which are enhanced with the core curriculum and through the Writing Center, which are majors are encouraged
to make use of.
4b.
The syllabi for the courses within this program incorporate the suggested elements of a syllabus – an example of
which can be found at the following St. John’s University Center for Teaching and Learning link. (Suggested limit 1/3
page) http://stjohns.campusguides.com/content.php?pid=71651&sid=984766
In 2014 The Department of Art and Design updated the syllabi for each of the courses offered in the four major
programs as well as the Music minor. Updated syllabi are available to all faculty for review and comparison. A
list of the courses offered by the Department and links to the 2014 updated syllabi can be found at:
http://sjuartdesignfaculty.weebly.com/department-syllabi.html
In order to provide our students with the best possible education in the arts and fulfill our aspirations for
pedagogical excellence, the Department of Art and Design faculty also meets regularly in order to discuss and
evaluate all programs and identify areas for improvement. Syllabi are evaluated and updated every three years.
Two annual portfolio reviews, along with the annual student exhibition, offer concrete assessment opportunities
whereby faculty may continually evaluate the educational programs offered. In addition our faculty are closely
connected with the changing demands of the field and we adjust our curriculum accordingly. Since 2009 all of
our BFA programs have undergone revisions. These revisions include the creation of upper level courses, the
creation of courses such as Motion Graphics, Advanced Web, Junior and Senior Design, Studio Seminar I and II,
Introduction to Video, Contemporary Photographic History and Practices, and several others, which were
created to keep our programs up-to-date and competitive. In direct relation to the Illustration program are two
new courses, Junior Sequential Art and Senior Sequential Art, that were approved by the LAFC in October 2014.
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All of our syllabi now follow an updated format, which includes the specific goals of our majors that the course
addresses and references the curriculum map for each of our majors.
In order to provide our students with the best possible education in the arts and fulfill our aspirations for
pedagogical excellence, the Department of Art and Design faculty also meets regularly in order to discuss and
evaluate all programs and identify areas for improvement. Syllabi are evaluated and updated every three
years. Two annual portfolio reviews, along with the annual student exhibition, offer concrete assessment
opportunities whereby faculty may continually evaluate the educational programs offered. The Illustration
program was revised in the fall of 2014 in order to address the changing demands of the field and offer
enhanced career opportunities to our students.
The following list of goals has been specifically developed in order to critically assess the quality of student
learning. Included in these measurable goals is an assessment of the degree to which students' attitudes, social
values, ethical values, commitment to scholarship and lifelong learning develop as a result of their education.
a.
Student artistic/creative progress.
b.
Student professional skills: academic progress toward the completion of their chosen degree and
career goals.
c.
Student professional skills: technological skills
d.
Student overall visual literacy: intellectual, historical, technical
e.
Critical thinking
f.
Community service/ Student involvement
g.
Program satisfaction
h.
Achievement of personal goals.
4c.
Describe the assessment model currently in place for the program and indicate the extent to which disciplinary
and core knowledge, competence, and values are met, as well as findings and action plans for improvement. For
reference, visit WeaveOnline – https://app.weaveonline.com//login.aspx; Digication – https://stjohns.digication.com.
(Suggested limit 1/2 page)
The program goals and outcomes of the Department have been designed so that students can develop their
creative, critical, formal and technical skills. As well as becoming versed in the visual and verbal language
of illustration, students gain an understanding and awareness of contemporary illustration practices,
contemporary illustrators and the history of illustration. These program goals and outcomes emphasize the
University Core Competencies, especially critical thinking, writing/communication skills, information,
presentation and literacy skills.
All BFA students are required to participate in a fall and spring portfolio review. In the fall, students meet as a
group according to major and year. The faculty of that major critique and evaluate the students’ work based on
the program goals and learning outcomes. In the spring, students meet individually with three faculty members
to review their portfolios. Thesis student’s work is reviewed twice a semester by all full-time faculty.
Self-Study Template 24
LAS_FA_ILLUSTR_BFA_Q
Program goals and learning outcomes:
Students are expected to demonstrate mastery of technical skills. Students in the Illustration BFA program learn
basic drawing and rendering skills, as well as the skills necessary to render graphic images on the computer, and
manipulate digital imagery. They also learn to choose the appropriate technology to execute specific design tasks
and to evaluate the production requirements of a given project.
Students are expected to demonstrate knowledge of Fine Art visual history.
A well-rounded education in Artist includes gaining knowledge of the history of the visual communication arts,
recognizing and naming historical figures in illustration and making connections between the historical artifact
and contemporary issues and illustration.
Students are expected to master formal skills. Foundation Design classes and Color Theory focus on working with
formal elements such as line, shade, texture, hierarchy, contrast, composition and color. Upper-level classes
teach students how to define and demonstrate knowledge of the importance of these terms and use these skill
sets appropriately in visual design problem solving. Courses in Book Arts focus on teaching the students a working
knowledge of font styles, formatting and an ability to make appropriate, project specific, typographic choices.
Students are expected to demonstrate field-specific critical thinking skills. Throughout all of their coursework
students are encouraged to apply critical thinking skills to the application of techniques learned and to
demonstrate the ability to solve visual problems with clearly articulated processes, including problem
identification, research and information gathering, generating and editing alternate solutions, implementing
final solutions and evaluating a project against the original goals and expectations. There is a consistent
focus on design fluency in verbal and visual vocabulary and the ability to analyze, discuss and critique visual
problems and solutions, considering technical, aesthetic and conceptual applications.
Students are expected to apply fine art skills. Throughout all of their coursework students acquire fluency
in various art disciplines, including, but not limited to: graphic design, book arts, poster and illustration,
web and interactive design, and motion graphics.
Students are expected to apply values and ethics to Illustration practice. Students in the Illustration Program
are trained to consider ethical, social and environmental responsibility in both typographic and image based
design solutions. They spend time examining individual situations and reflect upon the consequences of
images and the power of visual communications media in society at large.
Students are expected to demonstrate enhanced knowledge, skills and values consistent with the Core
Curriculum. The breadth of coursework covered in the Illustration B.F.A. addresses the Universities Core
Competencies. Students demonstrate information literacy and the ability to use computers and other
technology for a variety of purposes. They demonstrate effective communication skills in a variety of
formats and proficiency in the visual, verbal and written vocabularies of design.
Students are expected to illustrate realistic ideas to implement knowledge, skills, and values in occupational
pursuits in a variety of settings. Students formulate portfolios, which establish direction toward specific career
goals or towards the pursuit of a graduate degree in the visual arts. They demonstrate understanding of basic
business practices in the discipline, including the expectations of a professional artist, in varied job settings that a
artists might be employed in, proper interpersonal relations within an office, an understanding of both
subordinate and leadership roles within a professional structure, appropriate attire for business, client’s
expectation of freelancers and pricing/payment structures.
Self-Study Template 25
LAS_FA_ILLUSTR_BFA_Q
The program goals and outcomes of the BFA in Illustration are provided below.
B.F.A./Illustration Program Assessment and Learning Outcomes
1. Obtain proficiency in the use of a wide range of media and application of technical skills required by
each.
Illustrate mastery of a wide range of drawing, painting and digital media in the creation of skilled works.
2. Develop the ability to structure visual narrative in singular & multiple image formats.
Demonstrate a structured sensitivity to storytelling through the creation of images in both traditional and digital
formats.
3. Mastery of Research and Planning Skills
Develop effective methodology including research, planning & refinement when completing Illustration
assignments and executing long-term projects.
4. Production of Professional Portfolio
Demonstrate ability to plan, execute and promote a portfolio of illustrative work .
5. Critically Evaluate Visual and Narrative Media
Demonstrate ability to critical assess narrative illustrative work and be able to communicate those assessments
effectively.
4d.
What, if any, external validations, e.g. specialized accreditations, external awards, other validations of quality
has the program received? (Suggested limit 1/3 page)
The Illustration program has received NASAD, (National Association for Schools of Art and Design), accreditation,
which is the highest accreditation given to schools of art and design and is rarely given to art programs under
the umbrella of a larger university curriculum. We are pleased that in May 2012 the Department of Art and
Design was granted full accreditation by the National Association of Schools of Art and Design (NASAD) after
having been an associate member for a number of years.
Standard 4.
Additional comments if needed. (Suggested limit 1 page)
The Department of Art and Design will be publishing our assessment methodologies on Digication in 2015. We
are also collecting freshmen entry portfolios in order to better assess what students have accomplished during
their 4 years here. We hope to publish these findings, along with student portfolios during the next year or so.
In an effort better to assess our programs, we continue to collect data from our alumni and hope to improve
networking and mentoring between current students and alumni.
STANDARD 5. The program has the faculty resources required to meet its mission and goals.
Self-Study Template 26
LAS_FA_ILLUSTR_BFA_Q
5a.
Below you will find the number of students enrolled as majors and minors in the program. Please complete the
table by adding the number of full-time faculty assigned to the program. Then calculate the student to full-time faculty
ratio.
Fall 2005
Fall 2006
Fall 2007
Fall 2008
Fall 2009
# Majors/
FT Faculty FT PT Total FT PT Total FT PT Total FT PT Total FT PT Total
Majors
12
0
12
Minors
14
0
14
0
Majors
& Minors
Combined 12
0
12
15
1
16
0
14
0
14
11
0
0
15
1
11
10
0
0
16
11
0
10
0
11
10
0
10
# of FTE
Students
(Majors &
Minors) 12.00 0.00 12.00 14.00 0.00 14.00 15.00 0.33 15.33 11.00 0.00 11.00 10.00 0.00 10.00
# of FTE
Faculty
assigned
to the
program
0
0
0
0
0
FTE
Student/
FTE
Faculty
Ratio
0
0
0
0
0
Fall 2010
F
Total
Majors
MAJORS
Fall 2011
F
P
Total
Fall 2012
Fall 2013
F
F
Total
Total
Majors Majors Majors Majors Majors Majors Majors Majors
11
11
10
1
Fall 2010
F
Total
11
13
Fall 2011
F
P
Total
13
16
16
Fall 2012
Fall 2013
F
F
Total
Total
Self-Study Template 27
LAS_FA_ILLUSTR_BFA_Q
Total
FTE MAJORS
FTE
FTE
FTE
11
11
10
Fall 2010
FTE
FTE
0.333 10.333
Fall 2011
Fall 2012
FTE
FTE
FTE
FTE
13
13
16
16
Fall 2013
# of FTE faculty assigned
to the program
FTE Student/FTE Faculty
Ratio
Important Notes:
FTE Students = Number of FT Students + (number of PT Students/3)
FTE Faculty = Number of FT Faculty + (number of PT Faculty/3)
This methodology is used by STJ for all external reporting.
The figure for majors includes first and any second majors.
5b.
Below you will find the credit hours the department has delivered by full-time faculty and part-time faculty
(including administrators) and the total credit hours consumed by non-majors.
Credit Hours
Taught
Fall 2005
Fall 2006
Fall 2007
Fall 2008
Fall 2009
#
#
#
#
#
%
%
%
%
%
1644 31% 1680 33% 1911 39% 1992 40%
2001 37%
3638 69% 3470 67% 3016 61% 2978 60%
3371 63%
FT Faculty
PT Faculty
Total
5282 100% 5150 100% 4927 100% 4970 100% 5372 100%
% consumed by
Non-Majors
Credit Hrs
Taught
82%
Fall 2010
83%
Fall 2011
81%
Fall 2012
81%
81%
Fall 2013
Self-Study Template 28
LAS_FA_ILLUSTR_BFA_Q
Number Percent
Number
Percent
Number
Percent Number Percent
F-T Faculty
1,899
36.2% 1,908
34.1% 1,392
26.9% 1,398
27.5%
P-T Faculty
(inc Admin)
3,353
63.8% 3,688
65.9% 3,778
73.1% 3,682
72.5%
Total
5,252
% Consumed
by NonMajors
4,205
0.0%
0.0%
0.0%
0.0%
100% 5,596
100% 5,170
100%
80.1% 4,513
80.6% 4,195
81.1% 4,048
5,080
100%
79.7%
5c.
Below you will find the number of courses the department has delivered by full-time faculty and part-time
faculty (including administrators).
Courses
Fall 2005
Fall 2006
Fall 2007
Fall 2008
Fall 2009
Taught
#
%
#
%
#
%
#
%
#
%
27
34%
32
40%
38
46%
32
39%
FT Faculty
31
35%
PT Faculty
57
65%
53
66%
48
60%
45
54%
51
61%
Total
88
100%
80
100%
80
100%
83
100%
83
100%
Courses
Taught
Fall 2010
Number
Percent
Fall 2011
Number
Percent
Fall 2012
Number
Percent
Fall 2013
Number
Percent
Self-Study Template 29
LAS_FA_ILLUSTR_BFA_Q
F-T Faculty
P-T Faculty
(inc Admin)
40.0%
36
60.0%
54
37
41
0.0%
Total
90
100%
47.4%
52.6%
30
69
0.0%
78
100%
30.3%
69.7%
27.2%
28
72.8%
75
0.0%
99
100%
0.0%
103
100%
5d.
What is the representative nature of faculty in terms of demographics, tenure and diversity? (See departmental
information on next page). How well does this support the program? (Suggested limit 1/2 page)
Diversity in the Department of Art and Design, St. John’s College
Since 2004 the Department of Art and Design has striven to seek the best candidates to aid the university in its
mission to serve our students. One goal of the department is to engender diversity when hiring by maintaining a
50/50 ratio male and female. Since 2004, 5 of our last 8 hires were women. Of our 13 full-time faculty
members, 7 are women (54%). Of our entire faculty, 23 of 44 are women (55%). Our full time staff is 50/50
male to female.
The Department Personnel and Budget committee reviews all junior faculty for reappointment and tenure as
stipulated by University procedures and guidelines.
Another goal of the Department of Art and Design is to hire persons of color and ethnically underrepresented
backgrounds. In the last 4 years the department of fine arts has hired individuals who identify them self’s as:
Hispanic, S/Central America; Arab, N. African Middle East & Black Caribbean; Asian, Pacific Rim; and Asian,
Hispanic, S/Central America.
Moving forward the Department of Art and Design and the Illustration Program, strive to maintain the standard
of hiring the best candidates to aid the university in its mission to serve our students, and maintain diversity that
reflects of our global community.
Self-Study Template 30
LAS_FA_ILLUSTR_BFA_Q
Departmental Data
2005
FT
#
%
2006
PT
#
Total
%
FT
#
%
2007
PT
#
Total
%
FT
#
%
2008
PT
#
Total
%
FT
#
%
2009
PT
#
Total
%
FT
#
%
PT
#
Total
%
Gender
Male
60% 12 46%
18
6
50% 11 44%
17
8
57% 13 52%
21
8
57% 14 54%
22
8
57% 11 50%
19
Female
4 40% 14 54%
18
6
50% 14 56%
20
6
43% 12 48%
18
6
43% 12 46%
18
6
43% 11 50%
17
Total
10 100% 26 100%
36
12 100% 25 100%
37
14 100% 25 100%
39
14 100% 26 100%
40
14 100% 22 100%
36
Black
0
0%
1
4%
1
0
0%
1
4%
1
1
7%
0
0%
1
1
7%
0
0%
1
1
7%
0
0%
1
Hispanic
0
0%
1
4%
1
0
0%
1
4%
1
1
7%
1
4%
2
1
7%
1
4%
2
1
7%
0
0%
1
Asian
0
0%
3 12%
3
0
0%
2
8%
2
0
0%
3
12%
3
0
0%
3
12%
3
0
0%
2
9%
2
White
10 100% 20 77%
30
12 100% 20 80%
32
12 86% 20 80%
32
12 86% 21 81%
33
12 86% 20 91%
32
0
1
0
1
0
1
0
1
0
0
10 100% 26 100%
36
12 100% 25 100%
37
14 100% 25 100%
39
14 100% 26 100%
40
14 100% 22 100%
36
Tenured
6 60%
6
8
67%
8
8
57%
8
8
57%
8
9
64%
9
Tenure-Track
3 30%
3
4
33%
4
6
43%
6
6
43%
6
5
36%
5
Not Applicable
1 10%
1
0
0%
0
0
0%
0
0
0%
0
0
0%
0
Total
10 100%
10
12 100%
12
14 100%
14
14 100%
14
14 100%
Ethnicity
Unknown
Total
0%
1
4%
0%
1
4%
0%
1
4%
0%
1
4%
0%
0
0%
Tenure Status
14
Self-Study Template 31
LAS_FA_ILLUSTR_BFA_Q
FT
#
%
2010
PT
#
%
Total
FT
#
%
2011
PT
#
%
Total
FT
#
%
2012
PT
#
%
Total
FT
#
%
2013
PT
#
%
Total
Gender
Male
8
62% 10 48%
18
8
62% 13 48%
21
7
58% 12 48%
19
7
54% 14 45%
21
Female
5
38% 11 52%
16
5
38% 14 52%
19
5
42% 13 52%
18
6
46% 17 55%
23
Total
13
21
34
13
27
40
12
25
37
13
31
44
0%
1
1
8%
1
4%
2
1
8%
2
7%
3
1
4%
Ethnicity
Black
1
8%
Hispanic
1
8%
1
5%
2
Asian
0%
1
5%
1
0%
American
Indian/Alaskan
Native
0%
0%
0
0%
11 85% 17 81%
28
White
2 or More Races
2
0%
1
4%
1
8%
2
8%
3
1
0%
1
4%
0%
0
0%
11 85% 21 78%
32
10%
2
0%
2
6%
2
15%
2
6%
4
1
0%
1
3%
1
0%
0
0%
0
0%
0
11 92% 19 76%
30
11 85% 24 77%
35
1
7%
2
2
8%
Native
Hawaiian/Pacific
Islander
Unknown
Total
0%
13
0%
21
0
0%
34
13
0%
27
0
0%
40
12
0%
25
0
0%
37
13
2
6%
2
0
0%
0
0
0%
0
31
44
Tenure Status
Tenured
8
62%
8
8
62%
8
11 92%
11
12 92%
12
Tenure-Track
5
38%
5
5
38%
5
1
8%
1
1
8%
1
0%
0
0%
0
0%
0
0%
0
Not Applicable
Total
13
13
13
13
12
12
13
13
Self-Study Template 32
LAS_FA_ILLUSTR_BFA_Q
5e.
What evidence exists that the program’s faculty have engaged in research and scholarship on teaching and/or
learning in the program’s field of study? (Suggested limit 1/2 page)
The entire full-time and part-time faculty actively participates in research and scholarship that includes
professional practice, exhibitions, presentations and publications. Through assessment and planning activities
faculty share and discuss syllabi, relevant improvements in technology, media and advancements in pedagogical
theory.
Creative output whether in the form of written research and scholarship or gallery exhibitions informs teaching,
supports the University’s mission and goals and creates a vital bridge between the academy and the professional
world. Art and Design faculty remains committed to continued research, scholarship, and professional practice
as a vital component of a successful program.
Faculty submits an Annual Faculty Activity Report (AFAR) and yearly department report to the chair. In the AFAR
and departmental list faculty research projects, scholarship and learning activities for the past year can be
found.
5f.
What initiatives have been taken in the past five years to promote faculty development in support of the
program? (Suggested limit 1/2 page)
The University provides summer support grants and "seed" grants to all full-time faculty members. Innovative
Teaching Grants are also provided by the Center for Teaching and Learning. The latter provide faculty with the
opportunity to experiment and develop new ideas for cohesive, innovative classroom strategies. The center also
provides faculty with a multitude of workshops, resources and information.
In the past both the Departmental P&B and the Office of the Dean allow adequate funds for faculty
development and travel. The Dean's Office, through its development fund, often paid for art faculty to attend
workshops on any topic related to teaching and or student engagement. In addition, travel and conference
funds were available to faculty who want to attend and/or are presenting in professional conferences. On
occasion, the Office of the Dean even provided aid to Art and Design faculty for exhibition and research
expenses. As of Fall 2009 travel budgets were discontinued and other aid for faculty development, research and
exhibitions was cut due to University wide budget cuts. There is a concern that a long-term lack of funding for
faculty development and research will adversely affect the program and our ability to be leaders professionally
and academically. We hope that temporary cost-cutting measures will come to an end and that funding for
faculty development will be restored to pre-2009 levels.
In addition, travel and conference funds are available to faculty who want to attend and/or are presenting in
professional conferences. On occasion, the Office of the Dean has provided funds to aid art faculty with
exhibition and research expenses.
The Office of Grants and Research also assists the art faculty when approached. Unfortunately, however, their
main focus seems to be the sciences and more often than not, the art faculty is better informed on grant
availability for the arts than they are. We would like to see improvements made in this area to facilitate the
grant/research process for artists.
5g.
The table below shows the amount of external funding received by the department. If available, please provide
the dollar amount of externally funded research for full-time faculty supporting the program under review. (Program
dollar amounts are available through departmental records.)
Self-Study Template 33
LAS_FA_ILLUSTR_BFA_Q
External
Funding
Fiscal Year
04/05
05/06
06/07
07/08
08/09
$ Amount
Program
$ Amount
Department
External
Funding
4,500
Fiscal Year
09/10
10/11
11/12
12/13
$ Amount
Program
$ Amount
Department
-
-
-
-
5h.
Please comment on the table below that shows trends in overall course evaluation and instructional vibrancy for
your program (if available), your college and the university. (Suggested limit ½ page)
Overall course evaluations and instructional vibrancy for the Illustration program are increasing and are higher
that the college and university overall scores. This is in part due to the small class size and 6 contact hours for
studio art courses in the B.F.A. program.
Illustration (Q)
Saint John’s
College
Total
Undergraduate
Overall Evaluation (Spring)
2011
2012
2013
Instructional Vibrancy (Spring)
2011
2012
2013
4.15
4.20
4.24
4.40
4.43
4.46
3.95
4.01
4.00
4.28
4.33
4.33
4.01
3.21
4.07
4.27
4.29
4.35
Note: Institutional Vibrancy is the average of the first 14 questions on the course evaluation, with questions pertaining
to course organization, communication, faculty-student interaction, and assignments/grading. All course evaluation
questions range from 1 (Strongly Disagree) to 5 (Strongly Agree).
5i.
What percentage of full time faculty assigned to this program have terminal degrees or industry certifications
renewed within the past 2 years? Comment. (Suggested limit 1/3 page)
Self-Study Template 34
LAS_FA_ILLUSTR_BFA_Q
100 percent of the full time faculty members in the B.F.A. Illustration program hold an M.F.A. in Illustration. All
adjunct faculty members who teach in the Department of Art and Design hold a M.F.A. or terminal degree for
their area discipline.
Standard 5.
Comments: Indicate to what extent the program has the faculty resources required to meet its mission
and goals. Include references from 5a – 5i. (Suggested limit 1 page)
Faculty resources:
The Department of Art and Design has 12 full-time faculty members (10 visual arts and 2 art historians), and 31
visual arts adjunct faculty. All of the full-time faculty and adjunct faculty hold or are working towards terminal
degrees in their field of study and all have credentials consistent with NASAD standards.
The Illustration Program has two full-time faculty members who are dedicated to teaching Illustration studio
classes. In addition both full time and adjunct faculty from the other programs within the Department of Art and
Design teach classes that are specific to the Illustration Program providing their expertise allows. Our faculty
works in sub-specialties that directly relate to the courses offered in the program. The expertise of full-time and
adjunct illustration faculty includes: print work, motion graphics, graphic novel and narrative work, children’s
book illustration, information design, digital illustration and e-book publishing. The Illustration Program has a goal
of educating well-rounded young professionals.
Our studio classes are limited to 15 students, thus providing a 1:15 faculty/student ratio.
Standard 5.
Additional comments if needed. (Suggested limit 1 page)
N/A
STANDARD 6. The program has adequate resources to meet its goals and objectives. And, it is cost-effective.
6a.
Narrative/Supportive Technological Environment - Comment on classrooms and labs meeting industry-standards
for quality and availability of hardware, software, and peripherals; library space, holdings and services; science
laboratories, TV studios, art/computer graphic labs; etc. (Suggested limit 1 page)
The Department of Art and Design is located in St. John’s Hall with the exception of the Graphic Design labs which
are located in Sullivan Hall, a building that was built for the purpose of housing technologically advanced classrooms.
Fine Art studios in St. John’s Hall include rooms: 404, 405, 303, and 316, all which are general arts studios with
multiple uses. Room 404 and 405, however, are used primarily for painting and drawing. They are both equipped
with easels. Room 500, also in St. John’s Hall, is a printmaking studio; and room 403 is a darkroom facility for the
purpose of analog processes in photography. Rooms 316 and 406A also act as satellite graphic design/ digital
photography labs for student use. Labs are equipped with Mac desktops, the Adobe CS6 Creative Suite and both
labs have access to free ink jet printing. In addition to these, the Mezzanine area of St. John Hall is divided into three
larger studio sections, two of which are used for studio classes in design, drawing, illustration, jewelry design, and 3D design, and one of which is a designated Thesis studio for our BFA seniors and those working on Independent
Self-Study Template 35
LAS_FA_ILLUSTR_BFA_Q
projects. The Mezzanine area also houses lockers for BFA students and two small rooms, one which functions as a
small lighting studio for student use, and the other is set up as a resource room for BFA students.
Sullivan Hall houses two state-of-the-art computer labs, rooms 222 and 207, which are used for graphic design
classes, some photography and illustration classes, and the intro to video class. These labs have been updated every
year for software and are included in a rotation schedule with the rest of the university for hardware updates every
2-3 years. However, since Adobe changed their updates to the Cloud, the labs are still using 2-year old software,
Adobe CS6. Currently equipped with the newest Macs and the necessary software for graphic design, photography,
illustration and video, our labs are our most sophisticated facility, but are now challenged with the Adobe cloud
updates, which IT is looking into. It is imperative that the Adobe programs be updated for the next academic year in
order for the program to stay abreast of the industry standards.
The University provides classrooms throughout the campus in order to meet the needs of art history courses.
Classrooms assigned to art history courses all have inter-net and digital projection accessibility. The Department
also avails professors of laptops and projectors for use in studios, which are not permanently equipped with
projectors and computer podiums, though at this time, only the Mezzanine area lacks permanent podium and
projection equipment. An issue that we often face is that the projectors do not work well in some of the classrooms
and this impacts the proper teaching of art history since it is necessary for the work to be projected accurately in
order to accurately discuss elements of color, etc. within the work.
The Department of Art and Design ideally strives to have a space in which studios, labs and lecture halls can be
centralized and built to meet the needs required by each discipline. Our recruiting and alumni outreach efforts will
hopefully bring us closer to the realization of this goal. Until such time, we have been putting our efforts into making
the space that we do have as workable as possible and have received great support from the administration towards
the functional realization of the existing space.
Undeniably, the Mezzanine area presents the most challenges. Issues of air quality, ventilation and heat in this area
have been of great concern to the Faculty, students and administration. During the last few years, however, much
has been accomplished to improve the environmental quality of these studios, and the administration has eagerly
supported our suggestions and efforts to improve these existing spaces as best as possible. As a result, the air
duct system of the Mezzanine is regularly cleaned, and appropriate safety supplies such as eye wash stations
are maintained.
The darkroom, located in Room 403, serves the needs of majors by providing black and white analog facilities
for learning traditional photographic methods. The exhaust system in the darkroom is checked regularly and
two new air-conditioning units were installed this summer (2014). The darkroom is continually monitored
for environmentally sound procedures. The facility is equipped with fifteen Beseler enlargers and one fully
automated Beseler 45 that is available only to photo majors and Faculty.
Since our last Program Review in 2008, many enhancements have been made within the existing space to avail
students of adequate studio space and equipment in which to produce challenging work. A small lighting studio
was set up in one of the smaller rooms in the Mezzanine area. This studio is equipped with a variety of professional
lighting equipment, seamless papers and backdrops, strobes, soft-lights, and a Calumet 4x5 camera. In addition 3
new Epson 3880 photo ink jet printers were purchased and added to the existing 9800 printers in the 3rd and 4rth
floor of SJH. Room 316 in SJH, which is now used for photography classes and as a satellite working studio for BFA
majors, is equipped with 5 Macs 2 scanners and 4 ink jet printers. Room 406A is now equipped with 1 Epson 3880
and 2 Epson 9800, 44” wide printers and 2 scanners.
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Since all of our majors are now provided with a Mac laptop in freshman year, and Adobe now rents their latest
software from the “Cloud”, the need for more digital labs has greatly ceased since just about any classroom,
especially in the newly built DeAngelo Hall can adequately be used for teaching with digital media. As the
Department grows, however, more photography and illustration facilities will be needed, especially in the
area of printing labs.
Library and Learning Resources offered to the Illustration Program
The Library's collections in support of the Department of Art and Design include the following:


17,322 volumes of books (monographs)
The Art Department subscribes to Art in America, Art News, Art Forum, Print, and other relevant magazines as
well. These magazines are available in the Art Office for students and faculty.
In addition, the library finances and supports the following on-line resources for the Department:
Databases:
 Art Index (Wilson); Covers international articles on art from 1984 to present. Also indexes images.
 Art Retrospective (Wilson) ; Art journal indexing from 1929 to 1984.
 ARTstor; Repository of digital images of art, associated data, and user-friendly tools.
 Design & Applied Arts Index; The leading index for articles published in design and applied arts periodicals from
1973 onwards, covers new designers and the development of design and the applied arts since the mid-19th
century.
 ProQuest Research Library; Includes full text of art and music journals such as Art in America, Afterimage,
American Music, Music & Letters, and more.
E-Reference Sources:
 Credo Reference: Art; Includes A Biographical Dictionary of Artists, Dictionary of 20th Century Design &
Designers, and more.
 Oxford Art Online; Includes Grove Art Online, The Oxford Companion to Western Art, the Encyclopedia of
Aesthetics, and The Concise Oxford Dictionary of Art Terms as well as nearly 6000 images of art and
architecture.
 Oxford Reference Premium: Art; Includes The Dictionary of Modern Design, Dictionary of 20th Century Art,
and more.
Faculty work together with the Director of Collections, Mr. Andrew Sankowski and with Cynthia Chambers,
in order to update the collection on a continual basis. Our art history faculty work closely with the library in
order to maintain and evaluate resources.
An exceptionally rare collection of the Library is one of exhibition catalogs dating back to 1949. This collection,
which consists of approximately 9,000 holdings, has been set up this past year in the Reserve section so students
and Faculty have access to its "treasures" for research purposes.
The Department itself archives a slide/image collection that was in use through the 1990’s. Consisting of 10,607
slides, and over 20,000 images on electronic media, the collection, though rarely used in recent years, is archived
in the department office.
The newly organized Resource Room in the Mezz provides a small library of art and photography books for student
use. Texts and books of interest are provided for students to do research and additional readings. Students may
reserve access to the Resource Room during regular studio hours.
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The single greatest challenge faced by all the programs housed in the Department of Art and Design is the difficulty
we have recruiting high achieving high school students because of the scattered nature of our facilities. A number
of improvements have been requested and funded (as detailed elsewhere in this document) over the last five years
and while necessary, these upgrades have simply served to patch and make workable a less than ideal situation.
Our incoming freshman class benefits from top notch curricula and from working with professional New York based
artists and designer educators but most of these students arrive to a campus where their classrooms are below
the grade they experienced in high school. To be blunt, our facilities are undeniably lacking when compared to
peer institutions and even to many community colleges in the New York metro area. What is missing is not simply
specialized equipment, which we have been fairly successful in acquiring through funding from the Dean of St.
John’s College, Capital Requests and even from donations, but the integrated art making spaces found at Art Schools
and at other liberal arts universities housing art and design departments. We are fortunate that so many students
and their parents have been able to overlook this deficiency and still choose to attend our program, but it is unlikely
that we will be able to maintain strong numbers or continue to dramatically increase the number of incoming
freshman without a substantial investment in infrastructure and facilities. The Department of Art and Design has
made similar requests and the past and as stated elsewhere in this document we were slated to be moved to new
space (in the old University Center) as part of the 2008 strategic plan. Unfortunately, the proposals outlined in the
2008 strategic plan failed to materialize and the designated space was used for other purposes.
6b.
Narrative/ Supportive Physical Environment - Comment on level of faculty and student satisfaction with HVAC;
faculty and student satisfaction with classroom lighting, crowdedness, and acoustics; flexible teaching environments,
and faculty offices, etc.. (Suggested limit 1 page)
The physical environment of all of our studios and offices suffer form being in the oldest building on campus, which
often presents environmental and maintenance issues that are monumental to repair. The Department makes every
effort; despite of the daily challenges of maintenance, to make sure that safety procedures are installed throughout
the studios. Material Safety Data Sheets are kept in the Department office, each relevant studio, and posted on the
web by the environmental safety unit of the university. Both the Department of Art and Design and the Operations
Department of the University adhere to regular maintenance and cleaning schedules for studios and facilities.
Studio assistants and Faculty are responsible for reporting broken equipment and/or situations that may require
both immediate and long-term attention. SDS binders are now placed in each of the following studios: painting,
printmaking and darkroom. SDS binders that provide information on Epson inks are kept in the Art and Design office
and posted on the web.
This summer, with the help of new Building manager, the studios were cleaned and ceiling pipe leaks for toilets in
the Basement level, that presented health hazards to our students when they worked in the Mezzanine studios,
were finally addressed and repaired. During the summer, an air-conditioning compressor also flooded the
Mezzanine. This is one of many issues we face on a daily basis in St. John Hall.
The Faculty offices have been greatly improved since 2002, but due to the lack of space, they are scattered
throughout the Basement level of St. John Hall. Though we still often face issues of inadequate storage space for art
supplies and student projects in progress, we have recently purchased flat file drawers for every faculty and
strategically placed them in each studio where they are needed. The Department office has physically undergone
some aesthetic improvements since 2012-13: several walls have been painted and student work now hangs
appropriately throughout the art office. As previously mentioned, we have been working hard towards improving
what we have and making the spaces as functional as possible. In an ideal world, however, our art Faculty, because
of our University environment, should be assigned offices that allow for studio space.
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The Department of Art and Design is fortunate to have priority use of one classroom in Sullivan Hall (SUL 222) and
access to another (SUL 207) to teach software intensive classes. Information Technology maintains these
classrooms. Hardware and software purchases as well as overall maintenance is overseen by IT. Ken Mahlmeister
and his team have been extremely supportive and work to procure hardware and software necessary for teaching
Graphic Design classes. Recent hardware acquisitions have included new projectors in rooms 207 and 222, several
new scanners in each room, one new duplexing 11X17 Laser printer (installed 2014) and one additional printer has
been ordered and is will be installed later this semester. For the most part, the hardware needs of the program are
currently being met under this system, however we are currently working with software (primarily the Adobe
Creative Suite) that is two years out of date. Older software presents several challenges. Firstly students are unable
to work with what is industry standard and what they are likely to find when they leave school and become
employed as visual artists. Secondly, some students have a subscription (the new model used by Adobe for software
sales) of the Creative Cloud (the newest version of the Adobe’s software) and going back and forth between current
versions of the software and the outdated software in the Sullivan labs presents some issues because not all
software is easily backwards compatible. The Department of Art and Design requested that Sullivan 222, 207 and the
1st Floor Macintosh labs be updated with Adobe’s Creative Cloud in 2013 and again in 2014. We are still in
discussions with Information Technology regarding our request and hope installation of the Creative Cloud can be
implemented in time for classes to begin in Fall 2015.
While we are fortunate to have use of the Sullivan classrooms, having classes offered in two different locations on
campus presents some challenges and students tend to feel this lack of integrated facilities more strongly than other
students in the Department of Art and Design. Our students regularly go back and forth between Sullivan and St.
John’s Hall and they end up feeling less connected to the Department as a whole because of how many classes are
split in different locations. Ideally the Macintosh labs/classrooms would be relocated to a centralized location either
in St. John’s Hall or elsewhere so students could take all their classes in one building and would have access to
integrated art and design making facilities like those found at peer institutions.
6c.
To what extent has the University funded major capital projects, e.g., renovations, which are linked directly to
the program during the past five years? (Bulleted list)
• Partially funded: Podium Technology in all Art Studio Classrooms
During the summer of 2012 the art studios on the 3rd and 4th floors of SJH were upgraded to “Podium
Classrooms,” making Internet access and digital technology available. The upgraded rooms include painting
and drawing studios 404 and 405, the Illustration and Design studio located in room 303, and the digital
printing room located in room 316. No podium technology was incorporated into the mezzanine art studios
located in SJH or room 500 in SJH.
• 100% funded: Security Upgrade
Major security upgrade in the art studios located in SJH with the installation of security cameras and
controlled access systems at all entrances to these studio areas. (See item 3b)
• 100% funded: Furniture Upgrade and Replacement – Fine Arts
Capital request for new painting easels, painting tables and a Rack System for Storing Paintings Vertically,
Submitted in October 2012, funded June 2013
• 100% funded: Mezzanine Renovations for Thesis Studio
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During the summer of 2014 the art studios located in the mezzanine level of SJH were renovated to include a
dedicated studio workspace for students enrolled Art 4125 Creative Thesis.
• 100% funded: New furniture for the studios in Room 303 and 316, SJH. Tables and chairs that facilitate the
illustration classes were funded by the university in the fall of 2014.
• 100% funded: Wacom Tablets for Illustration Studio classes. Ten Wacom tablets were purchased by the
Department for specific use in Illustration classes and for students to use outside of class time.
6d.
If external data that describes the cost effectiveness of the program has been provided by your School/College
Dean, please comment on the program’s cost-effectiveness. (Suggested limit 1 page)
The chart below positively illustrates the cost effectiveness of the program:
The Illustration program had a contribution margin/profit of $ 109,817 for the FY 2014. The direct expenses of this
program are primarily the studio maintenance and supplies, many of which are shared by all four BFA programs. The
illustration major, in recent years, has had an increase in majors, and has recently surpassed the BFA in Fine Art due to
current trends that make the illustration major more career oriented than Fine Art. It continues to offer a positive and
critical contribution to the department overall.
Standard 6.
Additional comments if needed. (Suggested limit 1 page)
In recent years the University has had a policy of enhancing programs that have a proven track record of attracting
students. Majors and departments with strong enrollment have certainly benefited from this strategy, but in a time
of systemic enrollment challenges, more innovative and forward thinking measures are called for. Enhancing
programs (such as ours) with well-documented and fixable challenges would be advantageous and this strategy
would provide additional revenue streams in a time overall lower enrollment. New York City has the greatest
concentration of college students studying art, design and music found anywhere in the country. With its lack of
integrated Art, Design and Music making facilities, St. John’s University takes itself out of the running for many of
these students. In most cases high school students choose another school in the New York metro area and we loose
the opportunity to share the collective knowledge of the Art and Design faculty and to engage student with the
laudable goals of the University mission. The Department of Art and Design respectfully requests that the capital
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expenditure and space allocation outlined in the 2008 strategic plan be reinstated and that we move forward with a
plan of increased recruitment bolstered by development of state of the art facilities similar to those found in other
programs in the University.
This year we also face a challenging problem in the area of facilities as we have a BFA major who is confined to a
wheelchair. As we are making every effort possible to provide a comfortable and productive learning environment
for this brilliant, young artist, several of our studios, such as Room 500, our Printmaking room, are not wheelchair
accessible and the scattered nature of the studios overall makes it very difficult to navigate with a wheelchair or any
other type of physical challenge. This alone, makes a valid case for the consideration of updated art facilities.
STANDARD 7. Effective actions have been taken based on the findings of the last program review and plans have
been initiated for the future.
Comments: (Suggested limit 1page)
As a result of the program review of 2009, effective action has been taken by the Department of Art and Design to
upgrade the quality of the department’s facilities, curriculum and overall student engagement.

The safety concerns in the mezzanine level and the 4th floor studios located in St. John’s Hall were addressed.
The University funded the Department of Art and Design’s request for the installation of security cameras and
controlled access systems at all entrances to the art studios located in these areas. (see item 3b)

As part of the security systems enhancement, new fire doors were installed on the mezzanine level “Exit” doors
that lead directly to the outside. These new doors only permit outside egress and prevent entrance. New fire
doors were also installed on the 4th floor of St. John’s Hall replacing old doors that did not close properly.

The Department of Art and Design in conjunction with Public Safety established a new protocol to control
student access to the art studios during off-hours. (see item 3b)

The BFA Fine Arts curriculum was revised. Older courses that lost their relevancy were replaced with
four new upper level courses. Three of the new courses were added to the Fine Arts majors’ junior and senior
years as required courses, and one is available for them to take as an elective choice. Course sequencing was
adjusted to establish a better continuity from entry level to upper level areas of study. (see item 3b)

During the summer of 2014 the art studios located in the mezzanine level of SJH were renovated to include a
dedicated studio workspace for students enrolled Art 4125 Creative Thesis.

A new dedicated student exhibition space was established in the St. John’s College Office, Room 145 for the
continuous display of art created by Department of Art and Design students.

In our commitment to improve student engagement, and effort to maximize the senior thesis experience, in
2011 we extended the senior thesis course to include an exhibition in a professional New York City art gallery,
the Dorsky Gallery. The senior thesis exhibition in an off campus NYC gallery has evolved into an annual event,
and the experience engages students in every aspect of professional exhibition planning and participation, and
has transformed the thesis course from a theoretical to a real world lesson. The department continues to
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aggressively explore ways to improve both its internship and thesis programs.

The Department of Art and Design continues to explore ways to provide juniors and seniors with private,
individual workstations, where they can work on advanced projects. This is an acute need that has also been
cited in the “2010 NASAD Visitors Report.”

To further enhance student engagement, the Department of Art and Design plans to increase its efforts in
hosting student forums throughout the year that extend beyond the classroom. The university gallery could be
used as the setting for these student discussions and reading events, and other departments could also be
invited to participate.

The Department of Art and Design continues to explore ways to create meaningful connections between
program alumni and current students. To date, Department has adopted several measures aimed at this goal.
A LinkedIn group, which was developed in 2014, allows faculty and alumni to open post job and internship
positions. Alumni also come back several times a semester to critique upper level student work. In the future
we plan to expand these initiatives and offer networking events where current students can meet alumni
working in the field and hopefully make connections, which will survive post graduation. We also plan to
work with career services to and the LinkedIn group to more effectively connect students and recent
alumni to job openings in their field of study.

The Department of Art and Design is committed to serving transfer students and minors as well as the majority
of students who enter our undergraduate programs as freshman. To this end, the Department has worked with
the Office of Transfer Student Services to create advising procedures for incoming transfer students and has
revised the list of courses eligible for transfer credit in some programs. In the future the Department of Art and
Design will continue to monitor transfer student progress and make adjustments to our requirements and
advising practices as needed. The curriculum for all minors offered by the Department was updated so they now
require 18 (rather than 21) credits. Several program have made significant revisions to the minor structure to
better serve students who come from many different areas of study within the University. The updates have
been completed but many students are not aware of the changes. In the future, the Department will work to
publicize the five minors offered and will continue to monitor how students progress through the new
sequences of course offerings.

Inadequate facilities remain our biggest challenge when it comes to recruiting and retaining high quality art
and design students. Moving forward, the Department of Art and Design will continue to make request for
integrated art and design making spaces. In the absence of large-scale capital improvements, each program
in the Department will work to make the best use of existing space and to implement small scale updates of
technology and equipment that will improve the student experience and maintain high quality instruction.

In 2014 the Illustration Curriculum was revised to include two advanced level courses, which were lacking in the
previous program. In addition, existing courses such as Drawing for Illustration, Digital Illustration and Global
Sketchbook are now required for the program. These changes will greatly benefit our majors and help them to
expand their career possibilities and improve the quality of their overall work.
The program has engaged in continued evaluation and updates to our assessment practices and has increased
engagement through numerous activities as outlined elsewhere in this document. In 2013 the faculty reviewed
all of our program’s syllabi and assessed the overall structure of the curriculum. This evaluation resulted in the
removal of some classes, the reallocation of some classes from required classes to electives and visa versa. In
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order to keep current with the advances in our field, full-time faculty used their professional connections to
identify and hire two highly successful practicing fine artists to teach as adjuncts. While we believe that sustained
and concentrated contact with full-time faculty is essential to a student’s development and success, the program
also understands the value that ties to industry have for our students.
We recognize the value of being able to excel in a global workplace and have encouraged students to take
advantage of the new offerings provided by Global Studies. Program faculty have worked with Study Abroad
to increase the number of arts related classes that are offered at the Rome and Paris campuses and a number
of full-time faculty have taught in those programs. We are pleased to report that the number of students who
participate in either a summer session abroad or entire semester at the Rome campus continues to increase,
and all of the student feedback regarding these programs has been exceedingly positive.
Since the last program review the quality of the computer labs and production facilities has increased
tremendously. From 2005-2007 program faculty worked with the IT department to identify areas that needed
improvement both in hardware, software and IT Support. Sullivan 207 and 222 classrooms were completely
overhauled and outfitted with new Macintosh Pro computers and the latest graphics software. Additionally, the
MAC area of the first floor Sullivan computer lab was upgraded to match the classrooms. These improvements
have markedly improved the quality of student work and have dramatically increased students’ satisfaction with
the program. Having the digital teaching classrooms and labs in a different building from the other studio classes
remains a challenge but the improvements in the computer facilities over the last 3 years have had a very positive
effect on our program.
As a result of the last program review The Department of Art and Design continues to address the poor quality and
location of existing Fine Arts Studio facilities by obtaining approval to move into a new more suitable location.
Our goal is to bring all of the Fine Arts facilities, which are spread out over three buildings and four floors of
one of those buildings, together into a new renovated space. In addition to increased continuity for the student
experience, this would allow for greater out of the classroom engagement with students from the other Art and
Design majors, and create a creative and cultural center for the entire University.
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