AY 2014-2015 ACADEMIC PROGRAM REVIEW SELF-STUDY TEMPLATE
Reporting School/College: St. John’s College
Program Reviewed: Graphic Design BFA Q
Date Submitted to Department/Division Chair: 12/1/2014; 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)
1. Program Quality
St. John’s University’s BFA program is the only BFA program 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 fact positions us to be a leader in offering a visual arts curriculum of the highest quality, within a
university, that also offers students access to a broad liberal arts education.
The Bachelor of Fine Arts in Graphic Design is the nationally and professionally recognized degree for those
seeking to enter professions that include print design, interactive design, motion graphics, broadcast design,
exhibition design, packaging design, and user interface design. The Graphic Design Program at St. John’s
instructs students in the tools, techniques, vocabulary, traditions and history of their chosen profession.
Students in the program receive the technical and intellectual preparation necessary to develop their creative
work, they learn the problem solving processes that are standard in their industry and they are given the
necessary tools to make informed career decisions.
2. Market Growth Potential
Graphic Design majors can seek employment opportunities in a variety of areas of specialization and job titles
include the following: Junior Designer, Senior Designer, Graphic Designer, Art Director, Communication
Designer, Creative Director, Web Designer, Interactive Designer, User Experience Designer, Marketing
Communications Designer, Motion Designer, Advertising Designer, Brand Manager
The charts included later in the document provide a positive outlook for the graphic design market with an
estimated a growth of 13% between 2010-2020 and we expect this trend to be met or exceeded in New York
City which has the largest concentration of creative industry jobs in the country and where most of our
graduates work regardless of whether they were originally from the New York metropolitan area. As one of the
most employable areas in the arts, graphic design will continue to attract creative individuals who are looking to
leverage their talent and find steady gainful employment.
Self-Study Template 1
LAS_FA_GRAPHIC_BFA_Q
The U.S. Bureau of Labor Statistics (BLS) gives a median salary of $44,150 for graphic designers
with multimedia artists and animators commanding $61,370 with Art Directors making an
average of $80,000. However AIGA, The Professional Association for Graphic Design conducts
its own independent salary surveys each year and the data provided by AIGA is a more realistic
and accurate portrayal of salaries in our region. The 2014 Salary Survey for New York City gives
a median income twenty thousand dollars ($65,000) above that of the country as a whole.
The following is a list of most common positions for graduates 2+ years after having completed
their degree. All data is New York City specific.






Designer, $55,000
Art Director, $65,000
Senior Design $70,000
Motion Graphics Designer, $69,000
Design Managers, $100,000
Agency Creative Director, $120,000
As stated previously there is a greater concentration of graphic design jobs in New York than anywhere else in
the country. Many students from around the country who plan on working in fields related to art and design
come to New York to go to college. Faculty who take place in recruiting events sponsored by our NASAD,
(National Association of Schools of Art and Design, our accreditation organization) typically meet a high
concentration of high school students who have either decided to stay in New York City or plan to relocate here
to go to college. Unfortunately because of our lack of integrated art and design making facilities and other issues
detailed in this document many of those students choose to attend other New York City colleges and
universities.
The overall market potential for students studying graphic design is excellent, as our competition clearly knows.
Since 2009 there as been a 54% increase in peer institutions (identified as private colleges and universities with
100-200 majors) who offer NASAD accredited degrees in in Arts/Design and enrollment in Bachelors of Fine Arts
programs has increased to reflect more players in the field (see standard 2g for data charts using National
Association of Schools of Art and Design data). St. John’s University has an edge over the competition because of
its location in New York City and because it offers the only NASAD accredited Bachelors of Fine Arts degree in
Graphic Design housed in a large liberal arts university in the New York City metro area. In summation, the
Graphic Design program expects enrollment to stay relatively steady as we make the most of outdated nonintegrated art and design making facilities. Were there to be a capital investment and a major upgrade in the
overall quality of our faculties we would expect enrollment to increase to be more in line with peer institutions
which average double the number of majors we have at St. John’s University.
3. Student Learning
Small studio classes, which we limit 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 individualized attention
both in class and through frequent communication with their Departmental mentor or advisor, as well as
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 a the completion of a thesis project, or an internship.
Self-Study Template 2
LAS_FA_GRAPHIC_BFA_Q
They work closely with a faculty member of their choice and also receive feedback from the department as a
whole.
Our rigorous assessment methods emphasize individual and group portfolio critiques that measure and track
students’ progress in all areas of creative and personal development. These critiques allow students to obtain
thoughtful and comprehensive feedback from the broad array of perspectives. The many juried and non-juried
opportunities the students have to exhibit their creative work on the Queens campus are also part of our
assessment process. The most prestigious of these events is the end of the year student exhibition held in the
university gallery and the Thesis exhibition at Dorsky Gallery in Long Island City, Queens.
Other specifics that give our program a competitive edge include: development of courses abroad such as:
Drawing and Design in Rome, Art and Architecture in Italy, and Painting in Paris. Faculty supervised field trips to
museums, galleries, and pertinent NYC locations. Numerous guest speakers are invited every semester that pool
from the diverse creative talents of New York City. Also it is important to mention the dynamic global
programming of the University Gallery as well as the development of art history courses with global and
metropolitan concentrations such as: Pre-Columbian Art, Latin American Art, Contemporary Art and Culture and
Women in the Arts.
4. Significant changes, achievements (by faculty and students and the program itself), and plans for the future
Achievements by Faculty and Students and Significant Changes
The faculty in the Graphic Design Program continues to receive accolades for their professional, creative and
scholarly work. Our faculty have written several well received books since the last program review and they are
asked to speak and give lectures at both nationally and internationally conferences, symposia and trade events.
They have extensive publishing and professional experience and are extremely active members of their
academic and Graphic Design community in New York City and beyond.
Student and alumni success is our top priority in the Graphic Design program. Since the last program review we
have been able to observe two full cohorts of students as they progress through a new curriculum, which was
updated in and implemented in fall 2009. The inclusion of a greater number of required upper level courses and
a more rigorous curriculum structure has been highly successful. The new demands of the program have
complimented the stronger overall visual and verbal skills of incoming students. Since the new curriculum was
implemented, we have seen a marked improvement in the depth and sophistication of the creative work being
produced by Junior and Senior level students in the program. Fewer students fall behind because of how closely
they are tracked in this curriculum and those who do are either given remedial help or work with a faculty
member to assess whether graphic design is really a career where they can be successful. Students who are not
able to keep up with the demands of our program are advised to seek a major which more closely suites their
skills and interests.
The implementation of more upper level courses (Junior and Senior Design – Art 3135 and Art 4120) as well as
the requirement to take Motion Graphics (Art 2130) and Intro to Web Design (Art 3120) has had a measurable
impact on student achievement. In recent years our students have landed better quality internships and our
internship placement is 100 percent for graphic design majors who choose this option (about 95 percent of
students in the program). A number of students have been hired by the company where they spent their
internship and others have been referred to positions through contacts they met while they were interns. Job
placement is the primary measure of success for students who study graphic design and more recent graduate
are working for prestigious companies than ever before in our programs history. Our graduate’s success has a
Self-Study Template 3
LAS_FA_GRAPHIC_BFA_Q
trickle down affect. As more students find jobs and are able to advance in the field, they become resources for
current students. Over the last several years, a number of students have interned at companies where an alumni
is employed. For a detailed list of student / alumni achievements see STANDARD 2j.
Top employers for students from the Graphic Design program
MTV Networks, Martha Stewart Living, Omnimedia, BBDO Advertising, Vice Media, Nickelodeon, Imaginary
Forces, Museum of the Moving Image, Mr. Wonderful, Equinox, Pulse Creative, Bartle Bogle Hegarty Inc., Spring
Street Design, HunterGatherer, Nike, Johnson and Johnson Global Strategic Design
Recent Internship sites where Senior Graphic Design majors have been placed
MTV Networks, Martha Stewart Living Omnimedia, BBDO Advertising, Vice Media, Nickelodeon, Imaginary
Forces, Museum of the Moving Image, Mr. Wonderful, Pulse Creative, Bartle Bogle Hegarty Inc., Flight 001,
Mother Advertising, Off Track Planet Inc., Conde Nast Publishing, NY Arts Magazine, Interspectacular, The
Thomas Collective, Aruliden, Melangerie Inc., Arup RO, PUBLIC
Plans for the Future: Technology Based Initiatives and Curricular Improvement
It has been five years since the implementation of the last curriculum update and the Graphic Design program
has taken the opportunity provided by this program review to reassess the strengths and weaknesses of the
current course structure and curriculum. While we are generally very pleased with how the curriculum has
functioned, there is one area where improvement is still possible. Since 2009, the sub-fields of interactive
technology and user experience design have made tremendous advances and people are now as likely to view
images, video and text on hand held devices as they are on traditional computer screens or in print. The current
curriculum includes two courses on web design but our 2014 review of those syllabi found them to be
somewhat outdated and not as focused on user interface design as they could be. To this end the faculty in the
Graphic Design program plan to revise these the course offerings in these areas and possibly change the
curriculum to ensure that every students graduates with minimum competencies in Interactive and User
Interface Design. Since neither faculty has expertise in these areas the services of an external consultant have
been secured. Working in conjunction with program faculty the consultant will examine syllabi and make
recommendations for possible program revisions. We anticipate this process taking approximately one year and
hope to have new syllabi in place by fall 2015.
In a technology dependent field like Graphic Design continual reassessment is necessary and new initiatives are
also underway to incorporate 3-D printing into classroom instruction. The first graphic design student has
already created 3-D prints of his designs for a Senior Design (Art 4120) project. Information Technology has
recently acquired two 3-D printers and is making the technology available to students and faculty by request. 3D 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.
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.
Self-Study Template 4
LAS_FA_GRAPHIC_BFA_Q
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 Graphic Design Program at St. John’s University fosters the spiritual, intellectual and aesthetic growth of all
students through the discipline of art and design. We pay careful attention to the welfare of students through
small classes, personal attention in and out of the classroom, and responsible advisement procedures. Our low
faculty student ratio allows faculty to act as individual advisors for every student. Students participate in Service
Learning as part of their required classes. Projects in both lower and upper-level classes consistently reinforce
strong ethical values, environmental stewardship and social consciousness. It is the goal of the Graphic Design
Program for students not only to leave prepared for financial success but also for them to realize that their
strong ethical and aesthetical values can contribute to making the world in which we live a better place.
The following departmental initiatives provide evidence that our program supports the Catholic Identity of St.
John’s University:
A. The Development of Study Abroad Programs in Rome and Paris that are designed in part to provide students
a deep connection to the rich cultural heritage of Christianity.
B. All students in the Department of Art and Design summer program in Rome participated in service activities
designed to allow them to interact with and serve the poor.
C. Department of Art and Design students involvement in grant funded programs targeted at social issues on
campus.
D. Students are always encouraged and mentored to use their skills to advance causes that affect those who are
less fortunate.
E. Students participate in Service Learning both voluntarily and as part of class requirements.
Students who attend St. John’s University are fortunate to be able to study in one of the most vibrant creative
cities in the world. The diverse nature of the student body mimics the dynamic work environments that our
students are likely to find themselves in. As an international creative hub, New York City offers more
opportunities and jobs for young designers than anywhere else in the country. This proximity to NYC benefits
our students in numerous ways. They have access to lectures and events hosted by the AIGA (American Institute
of Graphic Designers), Art Directors Club, and the Type Directors Club. The high concentration of creative talent
means that there are numerous on-campus speakers and lectures by designers each semester that are
organized by faculty, the University Art Gallery and our student run Art Club. It is not an understatement to say
that our students are spectacularly successful at securing internships compared with peer institutions in other
parts of the country. Our internship placement rate is 100 percent each year (for students who choose this
option) and much of that is due to our proximity to New York City. While the city is a vital component of our
student’s education the urban environment and nature of St. John’s University Queens Campus is excellent
preparation for working in a high-paced career in graphic design. The metropolitan character of St. John’s
University is a vital component of our program and contributes enormously to the success of our students.
Self-Study Template 5
LAS_FA_GRAPHIC_BFA_Q
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 goal of the Graphic Design Program at St. John’s University is for every student to understand that the
professional skills that they are acquiring can be used to serve others. Graphic Design has the power to reveal
and visually communicate information. Students are taught that graphic designers have a dual responsibility to
serve their audience and the public as well as produce high-quality work for their clients. Though project-based
learning, students participate in Service Learning opportunities and create subsequent output that directly
engages them as graphic designers.
While not stated formally in our pedagogical goals, the Graphic Design Program at St. John’s seeks to foster
engagement through course projects and learning modules that incorporate sustainability and social justice in
our students’ educational experience. We believe that making these issues a priority in professional and
personal life will allow students to be successful in a rapidly evolving global community. It is fundamental that
our students understand that they are part of the “Global Village” and it is our hope that students from the
Graphic Design Program St. John’s will create work that is an expression of and respects our humanity and, in
doing so will be sought after professionally and enriched personally.
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 Graphic Design Program, functioning within the context of the St. John's College of Liberal Arts and Sciences,
is committed to providing a high quality Graphic Design and liberal arts education to students in our
baccalaureate degree program. The program’s purpose is to instruct students in the formal and conceptual
tools, relevant technology, production techniques, vocabulary, and history of their field of study. Students who
have a BFA in Graphic Design from St. John’s University have the technical, analytical, problem solving and
critical thinking skills to succeed in the fast-paced and dynamic world of graphic and media design.
Introductory classes in the Graphic Design Program, which serve all the majors in the Department of Art and
Design as well as our minors, are technically and formally rigorous. Students learn the relevant hardware
platforms and software programs that provide a foundation for contemporary design production. Critical
thinking and oral communication skills are developed during the group and individual critiques which take place
throughout student’s four years in the program. Upper level classes focus on the development of research skills
and a personal vision and style. Independently identified and defined projects hone problem solving skills and
challenge students to incorporate the writing and analytical skills that they have learned in their liberal arts and
sciences classes into a format that is applicable to their discipline.
The five basic pedagogic goals of the Department of Art & Design are as follows:
a. Student artistic development.
b. Student academic progress toward the completion of chosen degree.
c. Student progress toward career goals and preparedness to actively participate in their chosen field
/profession.
Self-Study Template 6
LAS_FA_GRAPHIC_BFA_Q
d. Departmental program improvements.
e. Professional achievements of faculty in order to remain on the cutting-edge of the “art world” and thus bring
this experience into the classroom.
Standard 1.
Additional comments if needed. (Suggested limit 1 page)
NA
STANDARD 2. The program attracts, retains, and graduates high quality students.
2a.
Undergraduate SAT and High School Average
SAT
2005
2006
High School Average
2007
2008
2009
2005
2006
2007
2008
2009
Program
1097
1046
1101
1132
1024
88
84
90
78
89
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
Fall 2012
Computed
FNA1 GRAPHIC DESIGN
1,153
Fall 2013
Computed
1,028
Computed
1,103
1,143
Freshmen High School Average
Fall 2010
Fall 2011
High School
FNA1 GRAPHIC DESIGN
Fall 2012
High School
90
Fall 2013
High School
88
High School
94
89
SAT Scores
School/
High School Average
2010
2011
2012
2013
2010
2011
2012
2013
1089
1077
1087
1098
88
88
88
88
Self-Study Template 7
LAS_FA_GRAPHIC_BFA_Q
College - Q
1097
Total University
1087
1096
SAT
1104
87
87
88
Test-Takers
Intended College Major
Mean Scores
Number Percent (%) Critical Reading
Foreign Languages, Literatures, and Linguistics
89
831
0.6%
Mathematics
Total
534
1083
549
* 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
# Ret
%
Program
83%
86%
71%
63%
100%
9
7
78%
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
FNA1
2010
Returned
DNR
#
%
#
%
6
67%
3
33%
9
Total
4
2011
Returned
DNR
Total
#
%
#
%
3
75%
1
25%
9
2012
Returned
#
%
9
100%
DNR
#
Total
Returned
%
7
DNR
#
%
#
%
6
86%
1
14%
Fall
2009
2010
2011
2012*
# Fresh
# Ret
%
School/
College - Q
76%
74%
72%
905
683
76%
Total University
78%
78%
76%
2757
2195
80%
Self-Study Template 8
LAS_FA_GRAPHIC_BFA_Q
* 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
67%
57%
50%
75%
50%
School/
College
Average Rate
61%
59%
58%
60%
57%
University
64%
59%
61%
61%
58%
Fall 2004 cohort
Total
FNA1
Graduated
7
4
57%
Fall 2005 cohort
Total
Graduated
7
5
Fall 2006 cohort
Total
71%
8
Graduated
3
Fall 2007 cohort
Total
38%
7
Graduated
6
86%
Fall
2004
2005
2006
2007
School/College
Average Rate - Q
57%
57%
57%
51%
Total University
58%
58%
59%
55%
2d.
Graduate Standardized Test Scoresw
Comments: Refer to Charts 2a – 2d in your response. (Suggested limit 1/2 page)
In most cases the program SAT, high school averages were slightly higher than the College average and are
higher than the University as a whole with the exception of 2011 where the SAT average lagged a bit behind
both measures. From 2009 – 2012 the average retention rate for the graphic design major was 82%, which is 26% higher than the college and university’s average for the same time period. The average 2004 – 2007
graduation rate for the graphic design major is 64%, which compares favorably (7-10% higher) to the college
and university’s average for the same time period. If we compare the retention rate for the last two years
available (2011 and 2012) we are pleased to see a significant improvement in retention for the program with
100% returning in 2011 and 86% returning in 2012. In recent years, faculty teaching in the program have made a
greater effort to engage with freshman and the Department of Art and Design has increased the number of
extra curricular activities available to our students overall. It would be tempting to say that our hard work has
paid off but we are very aware that students leave the University for a multitude of reasons and 2009 and 2010
were particularly difficult for many families from a financial perspective. Several students from our program left
Self-Study Template 9
LAS_FA_GRAPHIC_BFA_Q
St. John’s during those years to attend less expensive SUNY state schools. In summation, more data is needed
before we will know whether the favorable retention trends are likely to continue.
2e.
Please describe how the program compares with peer and aspirational institutions. (Suggested limit 1/2 page
As compared to other art schools, in New York City, our program offers a complete and competitive Graphic
Design curriculum with the added benefit of a liberal arts education. Small studio classes, which are limited to 15
students, offer an edge over other programs in the region. This is particularly important for our program
because most of the classes rely on project-based instruction. One-on-one time with faculty is directly related to
positive outcomes and to high achievement among student. Students in our program benefit from individualized
attention both in class and through frequent communication with their departmental mentor or advisor.
Unlike other institutions that often offer optional non-credit internships, our internship requires students to
work a minimum of 16-20 hours each week and the internship component of the program is 9 credits of the
overall 132-credits required by the program. This rigorous structure ensures near total participation among
students. Students are prepared for the internship and job seeking process by taking a mandatory professional
portfolio preparation class. Highly motivated students may opt to do a thesis instead of a for credit internship. In
such cases students almost always also do one or more non-credit internships in addition to their for-credit
thesis.
The Graphic Design Program at St. John’s requires students to take basic classes that emphasize formal skills but
by the time they get to upper level classes the output that they can create is flexible so that they are able to
begin to specialize in a specific area of their discipline. Perhaps the way that our program compares most
favorably to aspirational institutions is through the introduction of Junior and Senior Design classes and the
utilization of external funding to pay students to work for St. John’s Studio. These courses and extra curricular
opportunities were developed in direct response to feedback from employers who stated that they were looking
to hire employees that were able to work independently and understand how to use the design process to
produce large-scale projects. This system of instruction has been a benefit to our students compared with those
graduating from peer institutions, many of which have a tendency to focus almost exclusively on standardized
short-term projects.
The range of digital production methods that are part of upper-level classes allows student portfolios to meet
the current trends of the design industry, and prepares them for a variety of jobs which include: graphic
designer, art director, motion graphics designer, editorial designer and interface designer. Students have
responded enthusiastically to our course structuring system, which provides the tools and skills for them to be
able to develop their own stylistic methods and establish themselves as successful creative designers.
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)
NA
2g.
Number of majors and minors enrolled over the past five years. See table below.
Fall
Number of
2005
2006
2007
2008
2009
Self-Study Template 10
LAS_FA_GRAPHIC_BFA_Q
Students
Majors
44
38
38
43
49
Minors
6
5
7
4
3
Total
50
43
45
47
52
Fall 2010
Fall 2011
Fall 2012
Fall 2013
Majors
Majors
Majors
Majors
MAJORS
FNA1
MINORS
BFA
48
43
Fall 2010
Fall 2011
Fall 2012
Fall 2013
Minors
Minors
Minors
Minors
Graphic Design
2
4
8
Fall 2011
Fall 2012
Fall 2013
Total
Total
Total
Total
50
48
45
9
Fall 2010
Total
2h.
44
51
54
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
16
10
8
10
11
10/11
11/12
12/13
Degrees Conferred Degrees Conferred Degrees Conferred
SJC -UG-Q
FNA1
Graphic Design
BFA
11
13
6
Self-Study Template 11
LAS_FA_GRAPHIC_BFA_Q
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
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)
The National Association of Schools of Art and Design (NASAD) conducts bi-annual surveys of enrollment at their
member institutions. The data included here was taken from NASAD surveys from 2009-2014 for peer
institutions, which are defined as private universities with 100-200 majors. For the purposes of comparison, the
data provided by NASAD is more accurate than what is in this document because the code used to gather the
data for the charts above include both visual and performing arts and therefore over counts enrollment and
degrees given compared with the more limited program offerings in the Department of Art and Design at St.
John’s University.
The number of majors in the graphic design program has remained fairly constant over the last five years
however the degrees granted verses total number of majors fluctuates somewhat because we are a small
program. If one or two students stay an extra semester to complete course work our graduation rate goes down.
Similarly, the addition of several transfer students can skew our graduation numbers since transfer students
often arrive off track and take a bit longer than 2 years to graduate. Overall our graduation rate is fairly
consistent with the averages of other NASAD accredited programs.
TABLE BELOW- NASAD Accredited Private Institutions: 100-200 majors offering Bachelor of Fine Arts
or Equivalent
Number of
Institutions with
Majors
Art/Design Major
Enrollment Fall
2009-2010
13
1311
Number of Degrees
Awarded July
through June of the
years given
274
2011-2012
22
2525
527
Self-Study Template 12
LAS_FA_GRAPHIC_BFA_Q
2013-2014
20
2058
476
When looking at program specific data the information given is more general because it includes 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 18,000 Graphic Design and Communication Design majors in 166 four-year programs
conferring B.A. and B.F.A. degrees, an average of 4000 students are graduated annually. 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 2009-2014 (https://secure3.verisconsulting.com/HEADS/ )
Table below: Enrollment for all NASAD institutions according to major: Communications Design and
Graphic Design (degrees are comparable)
2009-2010
2011-2012
2013-2014
Number of
Institutions with
Majors
Art/Design Major
Enrollment Fall
157
171
172
17695
19072
17373
Number of Degrees
Awarded July through
June of the years
given
3775
4272
4133
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 Graphic Design program participates in an assessment and implementation process shared by
the Department of Art and Design. Graphic Design students are subject to a rigorous portfolio review every
semester. There is also a juried Student exhibition 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 and future careers. Faculty members are always available by appointment for
portfolio review and the annual report summarizes student accomplishments within our major.
Types of 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 a Department of Art and Design advisor to review
their academic progress toward the completion of their degree program.
At the end of each semester, 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.
Self-Study Template 13
LAS_FA_GRAPHIC_BFA_Q







Each student has individualized conferences with the designated Faculty Internship Advisor concerning
internship placement and or Thesis readiness.
Faculty member is assigned to individualized supervision of interns. Two group meetings are scheduled
each semester with the students who are on internship. Interns have recently been asked to put their
internship work and personal Internship Logs on a database which will be developed into an “Internship
Library” located in the Art Office.
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. A new assessment form has
recently been finalized and is scheduled for distribution to BFA alumni in December 2014.
b.
Student-Faculty Forum was established in April 2011 and has become a valuable tool to foster direct
communication with students.
c.
An alumni outreach plan is being further developed. In recent years we have had several alumni
programs including a dinner and lecture with Milton Glaser in our Manhattan campus, three Alumni Art
Exhibitions in the University Gallery, as well as a very successful 50 year BFA Alumni reunion/exhibition, which
took place in December 2013. In the summer of 2014, we also hosted an alumni barbecue on campus. Our
alumni often serve as mentors to our seniors and often come to visit and share their stories.
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)
Dana Jefferson, BFA Graphic Design 2013
Current: Motion Designer at MTV networks,
Interned at MTV Networks
http://www.mtv.com/
Katerine Bourn, BFA Graphic Design 2013
Current: Graphic Designer at MZ Berger & Co.
Christine Candia, BFA Graphic Design 2013
Current: Graphic Designer at BBDO
http://www.bbdo.com/
Internship at ARUP
http://www.arup.com/
Katie Mias, BFA Graphic Design 2012
Current: Graphic/Motion Designer at Hunter Gatherer,
where she was offered full-time employment after
completing her internship.
http://www.huntergatherer.net/
Salvador Chavez, BFA Graphic Design 2012
Current: Graphic Designer Pulse Creative
Interned at Pulse Creative
http://www.pulse-creative.com/
Diana Hu, BFA Graphic Design 2012
Current: Jr. Art Director at Ro New York
Self-Study Template 14
LAS_FA_GRAPHIC_BFA_Q
Kat Hanna, BFA Graphic Design 2011
Current: Business Designer, Grey Advertising
Former: Graphic Designer BBDO New York
Interned at BBDO
http://www.bbdo.com/Awards and Honors:
Kat was part of a team that won an award for the FedEx
advertising campaign
http://adsoftheworld.com/media/print/fedex_statue_o
f_sugarloaf
Elizabeth Englehart, BFA Graphic Design 2011
Current: Junior Art Director for Martha Stewart
Weddings Magazine.
http://www.marthastewartweddings.com/
Past: Graphic Designer Flight 001, a company
specializing in custom travel products.
http://www.flight001.com/
Interned at Melangerie and Flight 001
http://www.melangerienyc.com/
Maria Gambino, BFA Graphic Design 2011
Current: Graphic Designer at Equinox
http://www.equinox.com/
Past: graphic design at Casable
http://www.caseable.com/
Interned at 3.1 Phillip Lim
http://www.31philliplim.com
Awards and Honors:
Maria was one of a very select number of designers
chosen to work as interns at the BMW Guggenheim Lab.
Led by international, interdisciplinary teams of
emerging talents in the areas of urbanism, architecture,
art, design, science, technology, education, and
sustainability, the Lab addresses issues of contemporary
urban life through programs and public discourse.
http://www.bmwguggenheimlab.org/
Ina Dimitrova, BFA Graphic Design 2011
Current: Graphic Designer at Barle Bogle Hegarty
http://www.bartleboglehegarty.com
Past: Graphic Designer at Direct TV
http://dmg.directv.com/
Ina interned at Mother New York (the NY branch of the
Mother, an international branding agency)
where she worked on design work for well known
brands
http://www.mothernewyork.com/
Maxwell Strizich, BFA Graphic Design 2011
Current: Motion Designer at Imaginary Forces.
Imaginary Forces is a creative studio and production
company.
http://www.imaginaryforces.com/
Max interned at HunterGatherer and Imaginary Forces.
He was offered a full time position at both and accepted
the position at Imaginary Forces when he graduated
Rodney Hazard, BFA Graphic Design 2011
Current: Graphic Designer at Vice Media
http://www.vice.com/en_us
Past: Lead Designer Likeable Media.
http://www.likeable.com/
Internship at Nickelodeon.
Tracy Hua, BFA Graphic Design 2011
Current: Graphic Designer
http://www.criteo.com/
Past: Junior Designer Florio Design
http://www.floriodesign.com/
Past: Interface Designer assistant at MusicChoice.com
http://www.musicchoice.com/
Johana Munoz, BFA Graphic Design 2011
Current: Graphic Designer at RMSE International Group.
Elizabeth Feeney, BFA 2011 Graphic Design
Current: Graphic Designer and Executive Assistant at
Nest Seekers.
Joseph Rizzo, BFA Graphic Design 2010
Current: Graphic Designer at Clarins
Jasmine Yang, BFA Graphic Design 2010
Current: Graphic Designer, Clarins Fragrance Group &
InterParfums Luxury Brands at Clarins
Calina Prudente, BFA Graphic Design 2010
Current: Graphic Designer at Independence Energy
Alliance
http://www.chooseindependence.biz/index.asp
Past: Contract Designer at Johnson & Johnson Global
Strategic Design
http://www.jnj.com/connect/
Internship at Melangerie Inc.,
Joanna Guy, BFA Graphic Design 2009
Current: Graphic Designer at SGNet Solutions
Self-Study Template 15
LAS_FA_GRAPHIC_BFA_Q
Joe Botero, BFA Graphic Design 2009
Current: Graphic Designer at Catch 24 Advertising &
Design
http://www.catch24advertising.com/
Past: Graphic Designer at The Museum of the Moving
Image
Interned at The Museum of the Moving Image
http://www.movingimage.us/
Geoff Simms, BFA Graphic Design 2009
Current: Graphic Designer at Spring Design
http://www.springdesignpartners.com/
Interned at Warner-Elektra-Atlantic
http://www.wmg.com/
Kara Montalbano, BFA Graphic Design 2008
Current: Designer at CA Group in Mansfield, MA
Oska Ho, BFA Graphic Design 2008
Current: motion designer at wearebigbad.tv
http://wearebigbad.tv/
Past: motion designer at Digital Broadcasting Group
Digital Broadcasting Group was named number 3 in the
Top 20 Most Promising Companies of 2011 by Forbes
Magazinehttp://www.forbes.com/sites/brettnelson/20
11/11/30/americas-most-promising-companies-thetop-20/
Interned at Interspectacular
http://www.interspectacular.com
Tim Olwell, BFA Graphic Design 2008
Current: Art Director at Manhattan Marketing Ensemble
: MME
http://www.mme.net/
Jeremy Jones, BFA Graphic Design 2008
Current: Lead Mobile User Interface and Brand Designer
Rhythm NewMedia
http://www.rhythmnewmedia.com/
Gerard Sampson, BFA Graphic Design 2008
Current: Academic Lead / Lecturer SBCS Higher National
Diploma in Graphic Design
http://www.sbcs.edu.tt
Joseph Boylan, BFA Graphic Design 2007
Current: Motion Designer at Mr. Wonderful
http://www.mrwonderful.tv/
Awards and Honors:
Winner of Cut & Paste Global Championship for Motion
Graphics. Boylan won the New York City championship
in Fall 2010 with his piece entitled "Ahead of Its Time"
http://www.cutandpaste.com/
Michael Mendez, BFA Graphic Design 2007
Current: Senior Digital Designer at LGad.
http://www.lg.com/global/about-lg/media-center/adcampaigns/index.jsp
Past: Graphic Designer at Pulse Creative
Internship at Showtime Networks
Armand Brito, BFA Graphic Design 2006
Current: Interactive design/developer at Dimassimo
Goldstein (http://www.digobrands.com/); Owner,
Covert Operation Design (www.designcovert.com)
Past: Marc Ecko Enterprises
(http://www.marcecko.com/#/), Deustch Advertising
(http://www.deutschinc.com/), Work with
Clients/Brands: Ecko Unltd, Tylenol, DirectTV, Home
Depot, Bronx Zoo, PNC, Liz Claiborne, Mediacom,
Novartis, Microsoft, amongst a long list of other clients.
Kim Maharaj, BFA Graphic Design 2006
Current: Independent Graphic Design Professional,
Greater New York City Area Graphic Design
Past: Graphic Designer at Don Wise & Co
Joe Gilpin, BFA Graphic Design 2006;
Current: Graphic/digital production designer for AMA
(American Management Association), designs and
develops ebooks for the ipad and kindle fire, also
designs and develops digital magazines and mobile web
pages for AMA. Owner, Create Solutionz.
Lin Jiun Guey, BFA Graphic Design 2005
Current: Information and Brand Identity Graphic
Designer at Lebowitz Gould, Inc.
Website www.lgd-inc.com
Michael Rauch, BFA Graphic Design 2004
Current: Director/Animator at Rauch Brothers
Animation. Rauch Bros. is best known for its Emmynominated work with "StoryCorps", the national oral
history project. The StoryCorps animated shorts have
aired on POV, PBS's documentary film showcase, and
been exhibited in museums including The Metropolitan
Museum of Art, The Brooklyn Museum and The New
Museum.
Self-Study Template 16
LAS_FA_GRAPHIC_BFA_Q
Jonny Leather, BFA Graphic Design 2004
Current: Owns music publishing company, designs all CD
covers, Music Productions Founder/President at Mecca
Lecca Recording Co.; Production Director at Louise
Blouin Media; Photographer at Freelance; Past:
Production Manager at New York Press, Production
Assistant at Genre Magazine
Michael Bonilla, BFA Graphic Design 2003
Current: Vice President, Group Art Supervisor at
DraftFcb HealthcareGerald Yarborough, BFA Graphic
Design 2003
Current: Art director Of Product design & Development
at Nickelodeon.
Jennifer Marie Decio, BFA Graphic Design 2002
Current: Graphic Designer at Schneps Communications
Jin Choi, BFA Graphic Design 2002
Current: Creative Director at IZUNAMI Inc.
Jacqueline Schoeffel, BFA Graphic Design 2002, MFA
School of Visual Arts 2007
Current: Sparq Design Lead at Nike
Melissa Mallory, BFA Graphic Design 2002;
Current: Asst. Art Director of Quadriga Art-NY
Frank Racanati, BFA Graphic Design 2001
Current: Production Manager for a litigation consulting
company called TrialGraphix.
Website: www.trialgraphix.com
Mary Fuchs, BFA Graphic Design 2001
Current: Director for Annual Giving at Hofstra
Melissa Youhan, BFA Graphic Design 1999
Current: Everett Collection Inc.
Kevin Demaria, BFA Graphic Design 1999
Current: Art Director of Warsaw Insider Magazine
Trudy Laltoo, BFA Graphic Design 1999
Current: Photo Editor II at Getty Images
Diamond Promotion Group, Inc.; Assoc. Creative
Director Corp. Mktg & Promotions at Marvel
Entertainment Group, Inc.
Jean Tumminello, BFA Graphic Design 1998
Current: Owner at CJ Designworks, Inc.
Rita Farran, BFA Graphic Design 1998
Current: Graphic Design/Desktop Publishing, Desktop
Publisher at Berlitz GlobalNet designer, Berlitz, Inc.
Monica Foronda, BFA/BA, Graphic Design and
Psychology 1997
Current: Art Director at McCann Erickson;
Past: Art Director at MRM Worldwide; Design
Supervisor at wolterskluwer; Senior Designer at Aspen
Publishers
Ed Prete, BFA Graphic Design 1997
Current: Interface Design Engineer / Lead Designer at
FDNY; Owner at Prete Design (Sole Proprietorship) web
designer Website: www.pretedesign.com
George T. Casale, BFA Graphic Design 1996
Current: Owner of Casale Design, Inc., 1357 Broadway,
Suite 205, New York, N.Y. 10018
Website: http://www.casaledesign.com/
Rey Reynoso, BFA Graphic Design 1996
Current: Senior Art Director at Rise Magazine; Past: Sr.
Art Director at Yes Solutions; Sr. Art Director at
Bertelsmann/Time Warner Bookspan Sr. Art Director at
Yes Solutions; Sr. Art Director at Bertelsmann/Time
Warner Bookspan
Michelle Michalewicz Lumia, BFA Graphic Design 1996,
MS in Art Education. Hofstra University, Certified k-12
Current: Current: Owner/Founder Michelle’s Creative
Cottage. Teaches art enrichment classes at local
preschool in Huntington New York.
Past: Taught elementary Art for 8 years in the Port
Washington School District on Long Island.
Rosanna Bulian, BFA Graphic Design 1998
Current: Art Director at New Bay Media
George McCalman, BFA Graphic Design 1995
Current: Art Director at GeorgeMcCalmanDotCom; Past:
Art Director at Afar Magazine. Art Director at
ReadyMade Magazine, Art Director at Mother Jones
Keith Manzella, BFA Graphic Design1988
Current: VP Group Creative Director at EastWest
Marketing Group; Past: Associate Creative Director at
Marie Beemish, BFA Graphic Design 1994
Current: Art Director for Sentinel Printing
Self-Study Template 17
LAS_FA_GRAPHIC_BFA_Q
“I can't say I'm the TOP, but I've been a working graphic
designer since I graduated SJU.”
Steve Bertuzzi, BFA Graphic Design 1993
Current: Operations VP and Print Production Consultant
at SB Consulting Past: V.P. Director of Creative
Operations at Euro RSCG Life, Senior Print Production
Manager at FCB Healthcare; Prepress at Katz Digital
Jose Tigani, BFA Graphic Design 1992
Current: Production Editor at CMP Media FL
MaryAnn Biehl, BFA Graphic Design
Current: Chairperson, Dept. of Advertising Design &
Graphic Arts at City University of New York (CUNY)
Paul Schrynemakers, BFA Graphic Design
Current: Creative Director, Digital Media & User
Experience at Rodale Inc.
Past: Board Director at Society of Publication Designers
SVP; Creative Director, Digital Design and Development
at iVillage Inc.; Deputy Design Director at Time Inc. New
Media Creative Director, Digital Media and User
Experience
Kim Inman, BFA Graphic Design
Current: Art Director at Action Marketing Group
Karl Kent, BFA Graphic Design
Current: Graphic illustrator, cartoonist,
www.enerdtainment.com
Suzanne Andrade Amelung, BFA Graphic Design
Current: Creative Director at
www.elementalcreations.net
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)
BFA candidates in Graphic Design have maintained a 3.2–3.4 cumulative GPA in a 132 credit program which is in line
with the average GPAs of both the College and the University.
Self-Study Template 18
LAS_FA_GRAPHIC_BFA_Q
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
Mission:
In the Graphic Design 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. 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.
Student Engagement:
The Graphic Design Program at St. John’s University is deeply committed to providing individualized attention to
students in the classroom and to engaging students in extra curricular activities that expand on concepts
covered in assignments and projects 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 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.
Working with the student organization the Art Club has allowed the Department of Art and Design to
collaborate on and 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 Graphic Design 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 academic years to meet and interact with each other.
Globalization:
Professors in the Graphic Design Program teach classes on both the Rome and Paris campuses. 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.
Self-Study Template 19
LAS_FA_GRAPHIC_BFA_Q
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 and 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 some programs had 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, Illustration and Photography programs in
response to NASAD’s 2010 Visitors Report. Graphic Design was updated in 2009. 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. The 2003-04
self-study was prepared by Prof. Belenna Lauto, 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 Repot, which 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” resulted in full accreditation were prepared by Ross Barbera who
served as department chair from 2010 – 2013.
The next full On-Site review by NASAD will be in March 2015. The Department of Art and Design is currently in
the process of preparing for this upcoming visit by NADAD representatives.
It is important to note that the University has quickly responded to the most acute concerns of external
evaluators but stopped short of undertaking the larger changes to facilities recommended by the NASAD
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.
Self-Study Template 20
LAS_FA_GRAPHIC_BFA_Q
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.
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 patch work 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.
Self-Study Template 21
LAS_FA_GRAPHIC_BFA_Q
Graphic Design Program Specific
To address the shift in the academic profile of our students the Graphic Design Program assessed our curriculum
and made several changes. To better serve the increasing number of students who enter our program with AP
college credit and/or are able to take the CLEP examinations in lieu of 1000 level core classes, we now offer and
require a greater number of advanced Graphic Design classes. Additionally we recently revised the class
requirements to allow high performing students to use their electives to have a secondary focus within the
Department of Art and Design. These changes have made our program more rigorous while continuing to ensure
that our classes and curriculum serve our highest achieving students while continuing to provide a quality
education for all those enrolled in the Graphic Design Program.
We are committed to enhancing student engagement and have increased the number of activities designed to
engage students both in and out of the classroom. There are several off-campus field trips offered through the
program and the Department of Art and Design each semester. Additionally faculty have developed projects and
assignments that encourage and/or require students to participate in on campus activities and/or activities
offered by professional organizations and in the community. It is our goal to make engagement both in and out
of the classroom a seamless experience so that students’ in the future will be conditioned to expect that active
participation is a vital part of their education.
Our commitment to the ongoing accreditation process for the National Association of Schools of Art and Design
continues to engage us in an intense and fundamental process of self-study and has lead to a clear awareness of
both our strengths and our weaknesses. We are deeply committed to this analytic process and are always
striving to do the most that we can to foster the power of visual arts expression and learning in ways that
connect to the core values of St. John’s University.
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.
Graphic Design majors can seek employment opportunities in a variety of areas of specialization and job titles
include the following: Junior Designer, Senior Designer, Graphic Designer, Art Director, Communication
Designer, Creative Director, Web Designer, Interactive Designer, User Experience Designer, Marketing
Communications Designer, Motion Designer, Advertising Designer, and Brand Manager.
The charts below provide a positive outlook for the graphic design market with an estimated a growth of 13%
between 2010-2020 and we expect this trend to be met or exceeded in New York City which has the largest
concentration of creative industry jobs in the country and where most of our graduates work regardless of
whether they were originally from the New York metropolitan area. As one of the most employable areas in the
arts, graphic design will continue to attract creative individuals who are looking to leverage their talent and find
steady gainful employment.
The U.S. Bureau of Labor Statistics (BLS) gives a median salary of $44,150 for graphic designers
with multimedia artists and animators commanding $61,370 with Art Directors making an
average of $80,000. (see citation below) While this data is useful, it doesn’t provide an
accurate picture of salary trends here in New York City. Fortunately, AIGA, the Professional
Association for Graphic Design conducts its own independent salary surveys each year and the
data provided by AIGA is a more realistic and accurate portrayal of salaries in our region. The
2014 Salary Survey gives a median income twenty thousand dollars ($65,000) above that of the
Self-Study Template 22
LAS_FA_GRAPHIC_BFA_Q
country as a whole. Students entering the workforce can expect lower initial pay with median
income for Junior Designers at $40,000 (Print Design) and $48,000 (Interactive Design) bu t
salaries increase exponentially as one gains experience (see list below) and easily command
salaries of $60,000 or more within a few years.




Junior Designer, $40,000 (Print) $48,000 (Interactive) ( typically 0-2 years experience)
Designer, $55,000 (typically 2+ years experience)
Art Director, $65,000 (typically 2+ years experience)
Senior Design $70,000 (typically 2+ years experience)





Motion Graphics Designer, $69,000 (title not necessarily dependent on experience)
User Experience Designer, $80,000 (title not necessarily dependent on experience)
Design Managers, $100,000 (typically 5+ years experience)
Agency Creative Director, $120,000 (typically 5+ years experience)
Owner, partner or principle of a design company, $155,000 (typically 5+ years experience)
The salary figures provided by AIGA for New York City mirrors anecdotal information provided by graduates from
the program. Typically students’ first jobs pay between $30,000 and $45,000 but motivated individuals are able
to move up quickly and a number of alumni have attained senior level positions as Art Directors, Creative
Directors and Senior Designers in 3-5 years (usually without any additional schooling).
Data is cited from the following sources: Bureau of Labor Statistics, U.S. Department of Labor,
Occupational Outlook Handbook, 2014-15 Edition, Graphic Designers, on the Internet at
http://www.bls.gov/ooh/arts-and-design/graphic-designers.htm (visited November 03, 2014).
The Professional Association for Graphic Design. AIGA Survey of Design Salaries 2014, on the
Internet at http://designsalaries.aiga.org/#overview/ (visited November 03, 2014) (to see
location specific data provided one must download the pdf of the entire salary survey)
Fastest growing occupations and occupations having the largest numerical increase in employment by level of education
and training projected.
Change, 2010-20
Fastest Growing Occupations
Graphic Designers
Percent
Numeric
13%
37,300
Occupations having the
largest numerical
increase in employment
Graphic Designers
Change, 2010-20
Percent
13%
Numeric
37,300
Projected Changes in Related Occupations (2010 – 2020)
Changes, 2010-20
Grow about as fast as average - Increase 7 to 14.9%
Graphic Designers
Percent
Numeric
13%
37,300
*For more information please visit: http://www.bls.gov/news.release/ecopro.toc.htm
Standard 3.
Additional comments if needed: (Suggested limit 1 page)
Self-Study Template 23
LAS_FA_GRAPHIC_BFA_Q
Department of Art and Design faculty meet on a regular basis to discuss all aspects of the program, including
strategic planning. Faculty teaching in the Graphic Design Program meet separately at least three times a
semester to review curriculum issues, student engagement, and outside of class initiatives. The Department of
Art and Design EPC meets 6-8 times throughout the academic year.
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 and
• 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 of Art and Design
The Graphic Design curriculum is a rigorous sequential program that trains future designers in all of the essential
formal and technical competencies of the field. The Graphic Design BFA curriculum includes course work in
relevant contemporary issues and technologies including sustainability, green design and dynamic digital media
design. With the ubiquity of the internet and the proliferation of blogging and social media Graphic Design has
become a de facto skill set for a broad base of careers including advertising, journalism, marketing and business.
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.
2. Curriculum integrity, coherence, academic internships, teaching excellence, teaching vibrancy, and study abroad
experiences
Curriculum integrity, coherence
The BFA programs curriculum in Graphic Design is under constant review and evaluation in an effort to provide
students with a relevant curriculum that effectively encompasses the technical, artistic and conceptual skills
Self-Study Template 24
LAS_FA_GRAPHIC_BFA_Q
needed by today’s contemporary, professional designers.
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 Department of Art and Design 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, the distribution of an art student handbook and 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 graphic design 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.
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.
Advisement procedures established by the university are as follows: The Freshmen Center advises all incoming
freshmen with loose collaboration with the Art Department Chair and advisors. Upon the completion of
freshmen year, students are assigned a Departmental Faculty Advisor, whom they are encouraged to keep
throughout their next three years.
Students are expected to meet with their advisor at least once a semester. Departmental advisors are guided
and trained by the Chairperson and University personnel and administrators through various workshops and
meetings. The University has adopted the philosophy of “Developmental Advisement” and as such students are
encouraged to meet with their advisors to discuss their career goals, strengths and weaknesses, as well as their
class choices.
The Department keeps a secure file system, holding academic files of each art major as well as advisors'
evaluations, initial portfolio review evaluations, thesis and internship evaluations, and any other relevant
information pertaining to the student regarding individual progress and pedagogical issues.
Academic Internships
Graphic Design students have the option of doing an internship or a thesis project during their final semester in
the program. All BFA students must take a portfolio class (Art 3110), which prepares them to apply for
internships and eventually for jobs in their field of study. 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 Graphic Design Program have been
Self-Study Template 25
LAS_FA_GRAPHIC_BFA_Q
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 Graphic Design majors and it ensures that we graduate high
quality students that are ready for to assume professional roles as Graphic Design employees. 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 the 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.
Teaching excellence, teaching vibrancy
Student success is the primary goal of the Graphic Design program and the faculty who teach Graphic Design
classes strive to provide a vibrant environment in which student can excel and develop the competencies
needed for employment in the field. As stated elsewhere in this document all the full-time faculty teaching in
the Graphic Design program have terminal degrees in their field and are active scholars and creative designers. It
is our belief that scholarship fosters teaching and teaching connects back to scholarship. Faculty actively work to
bring elements from their research and creative work into classroom activities and assignments and they meet
several times a semester to assess how new assignments or teaching techniques are being integrated into
existing classes and/or may provide opportunities for the development of new courses aligned to current trends
in the field. Additionally, industry connections and active engagement with alumni allow us to bring working
graphic designers and successful alumni in for critiques and demonstrations. This combination high-level
instruction by full-time faculty augmented by industry professionals allows the Graphic Design program to
provide an engaging environment for students to develop and learn about the discipline.
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 lead 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 Graphic Design have also designated a particular semester (in most
cases 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
Self-Study Template 26
LAS_FA_GRAPHIC_BFA_Q
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
A good Graphic Design process 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
Graphic Design process;
1) Briefing; covering project objectives, communication goals, timing and budget, 2) Design; brainstorming,
developing and presenting visual design solutions and being able to clearly articulate design 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 Graphic Design
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 with the highest quality solutions and services
appropriate to their business, marketing or communication needs. Core Competencies not covered in Graphic
Design studio classes are covered in Art and Design History classes, Core Liberal Arts and Sciences, and other
classes offered by the Department of Art and Design.
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.
The following list of departmental 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
Self-Study Template 27
LAS_FA_GRAPHIC_BFA_Q
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 ½ page)
The program goals and outcomes of each of the programs offered by the Department of Art and Design have
been designed so that students can develop their creative, critical, formal and technical skills, and become
versed in the visual and verbal language of art and design. Students are expected to gain an understanding and
awareness of contemporary design practices, contemporary designers and the history of design. The individual
program goals and outcomes emphasize the University Core Competencies, especially critical thinking,
writing/communication skills, information, presentation and literacy skills. The program goals and outcomes of
the BFA in Graphic Design are provided below.
Program Goals for the BFA in Graphic Design:
1. Master Formal Visual Skills - Illustrate mastery of working with formal visual elements such as line, shape,
texture, contrast, hierarchy, composition and color. Master typographical skills, demonstrating and ability to
make appropriate, project specific, typographic choices.
Students are expected to master formal skills. Foundation Design classes and Introduction to
Graphic Design I 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 Typography and Advanced Typography focus on
teaching the students a working knowledge of font styles, systems of measurement and
formatting and an ability to make appropriate, project specific, typographic choices.
2. Mastery of Technical Skills - Demonstrate the ability to manipulate and render graphic images and choose
appropriate technology to specific design tasks.
Students are expected to demonstrate mastery of technical skills. Students in the Graphic
Design 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.
3. Develop enhanced knowledge, skills and values consistent with the Core Curriculum 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
Self-Study Template 28
LAS_FA_GRAPHIC_BFA_Q
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 designer, the workings of a design office, the varied job settings
that a graphic designer 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.
Students are expected to demonstrate field-specific critical thinking skills. Throughout 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 Graphic Design
problems and solutions, and to consider technical, aesthetic and conceptual applications.
Students are expected to demonstrate enhanced knowledge, skills and values consistent with
the Core Curriculum. The breadth of coursework covered in the Graphic Design BFA 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.
A well-rounded education in Graphic Design includes gaining knowledge of the history of the visual
communication arts, recognizing and naming historical figures in design and making connections between the
historical artifact and contemporary issues and design.
Students are expected to apply graphic design skills and throughout their coursework they acquire fluency in
various Graphic Design disciplines, including, but not limited to: editorial design, book jacket, poster and CD
packaging design, branding and logo design, information design, web and interactive design, and motion
graphics. Students in the Graphic Design Program are also 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.
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 Graphic Design 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)
Self-Study Template 29
LAS_FA_GRAPHIC_BFA_Q
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.
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
# Majors/
FT Faculty
FT
PT
Total
Majors
43
1
44
37
Minors
6
6
5
Majors
& Minors
Combined
49
1
50
42
# of FTE
Students
(Majors &
Minors)
49
0.33
# of FTE
Faculty
assigned to
the program
2
1
FT
49.33
3
FTE Student/
FTE Faculty
Ratio
PT
Fall 2007
Total
FT
38
34
5
7
1
43
41
42
0.33
42.33
3
2
1
5
0
PT
Fall 2008
Total
4
PT
38
43
7
4
4
45
47
41
1.33
42.33
3
2
5
0
Fall 2010
FT
Total
0
0
47
3
Fall 2009
0.00
2
PT
43
49
4
3
47
52
47
Total
0
0
0.00
3
2
0
Fall 2012
Fall 2013
Total
F
Total
F
P
Total
F
P
Total
Majors
Majors
Majors
Majors
Majors
Majors
Majors
Majors
Majors
Majors
Majors
1
48
44
44
41
2
52.
0
P
47
52
5
F
MAJORS
49
3
52
5
0
Fall 2011
FT
43
44
1
45
Self-Study Template 30
LAS_FA_GRAPHIC_BFA_Q
Fall 2010
Fall 2011
Fall 2012
F
Total
F
Total
F
Total
F
Total
Minors
Minors
Minors
Minors
Minors
Minors
Minors
Minors
MINORS
2
2
4
4
8
Fall 2010
Total
MAJORS/MINORS
FTE MAJORS
8
9
Fall 2011
9
Fall 2012
Fall 2013
F
P
Total
F
Total
F
P
Total
F
P
Total
Total
Total
Total
Total
Total
Total
Total
Total
Total
Total
Total
49
1
50
48
48
49
2
51
53
1
54
Fall 2010
Total
Fall 2013
Fall 2011
Fall 2012
Fall 2013
F
P
Total
F
Total
F
P
Total
F
P
Total
FTE
FTE
FTE
FTE
FTE
FTE
FTE
FTE
FTE
FTE
FTE
49
0.333
49.333
48
48
49
0.667
49.667
53
Fall 2010
Fall 2011
Fall 2012
0.333 53.333
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.
Self-Study Template 31
LAS_FA_GRAPHIC_BFA_Q
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
Fall 2005
Fall 2006
Fall 2007
Fall 2008
Fall 2009
#
%
#
%
#
%
#
%
#
%
1644
31%
1680
33%
1911
39%
1992
40%
2001
37%
PT Faculty
3638
69%
3470
67%
3016
61%
2978
60%
3371
63%
Total
5282
100%
5150
100%
4927
100%
4970
100%
5372
100%
Taught
FT Faculty
% consumed by
Non-Majors
Credit Hrs Taught
Fall 2010
Number
F-T Faculty
82%
P-T Faculty (inc
Admin)
3,353
Number
Fall 2012
Percent
36.2%
1,908
34.1%
63.8%
3,688
65.9%
0.0%
Total
5,252
% Consumed by
Non-Majors
100%
4,205
81%
Fall 2011
Percent
1,899
83%
80.1%
Number
1,392
3,778
4,513
100%
Percent
Number
Percent
26.9%
1,398
27.5%
73.1%
3,682
72.5%
80.6%
0.0%
5,170
4,195
81%
Fall 2013
0.0%
5,596
81%
100%
81.1%
0.0%
5,080
4,048
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
Taught
FT Faculty
Fall 2005
#
31
Fall 2006
%
Fall 2007
Fall 2008
Fall 2009
#
%
#
%
#
%
#
%
27
34%
32
40%
38
46%
32
39%
35%
Self-Study Template 32
LAS_FA_GRAPHIC_BFA_Q
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
Fall 2012
Percent
Number
Fall 2013
Percent Number Percent
F-T Faculty
36
40.0% 37
47.4% 30
30.3% 28
27.2%
P-T Faculty
(inc Admin)
54
60.0% 41
52.6% 69
69.7% 75
72.8%
Total
90
0.0%
0.0%
0.0%
100% 78
100% 99
100%
0.0%
103
100%
Self-Study Template 33
LAS_FA_GRAPHIC_BFA_Q
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)
Since 2004 the Department of Art and Design has worked to find the best candidates to aid the university in its mission, serve the needs
of each program, and to serve our students overall. 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 12 full-time faculty members, 6 are women (50%).
Of our entire adjunct faculty, including adjuncts in Staten Island and abroad, 21 of 42 are women (50%).
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 has hired individuals who identify themselves 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, strives 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 our global community.
Departmental Plan
2005
FT
2006
PT
Total
#
%
#
%
Male
6
60%
12
46%
Female
4
40%
14
Total
10
100%
Black
0
Hispanic
0
FT
2007
PT
Total
#
%
#
%
18
6
50%
11
44%
54%
18
6
50%
14
26
100%
36
12
100%
0%
1
4%
1
0
0%
1
4%
1
0
FT
2008
PT
Total
#
%
#
%
17
8
57%
13
52%
56%
20
6
43%
12
25
100%
37
14
100%
0%
1
4%
1
1
0%
1
4%
1
1
FT
2009
PT
Total
#
%
#
%
21
8
57%
14
54%
48%
18
6
43%
12
25
100%
39
14
100%
7%
0
0%
1
1
7%
1
4%
2
1
FT
PT
Total
#
%
#
%
22
8
57%
11
50%
19
46%
18
6
43%
11
50%
17
26
100%
40
14
100%
22
100%
36
7%
0
0%
1
1
7%
0
0%
1
7%
1
4%
2
1
7%
0
0%
1
Gender
Ethnicity
Self-Study Template 34
LAS_FA_GRAPHIC_BFA_Q
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
Unknown
0
0%
1
4%
1
0
0%
1
4%
1
0
0%
1
4%
1
0
0%
1
4%
1
0
0%
0
0%
0
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
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%
14
Tenure Status
2010
FT
2011
PT
Total
#
%
#
%
Male
8
62%
10
48%
Female
5
38%
11
52%
Total
13
FT
2012
PT
Total
#
%
#
%
18
8
62%
13
48%
16
5
38%
14
52%
34
13
0%
1
1
8%
1
4%
2
1
8%
2
7%
3
1
4%
FT
2013
PT
Total
#
%
#
%
21
7
58%
12
48%
19
5
42%
13
52%
40
12
FT
PT
Total
#
%
#
%
19
7
54%
14
45%
21
18
6
46%
17
55%
23
37
13
Gender
21
27
25
31
44
Ethnicity
Black
1
8%
Hispanic
1
8%
1
5%
2
Asian
0%
1
5%
1
0%
American
Indian/Alaskan
Native
0%
0%
0
0%
81%
28
White
11
85%
17
11
85%
21
0%
1
4%
1
8%
2
8%
3
1
0%
1
4%
0%
0
0%
78%
32
1
11
92%
19
0%
2
6%
2
15%
2
6%
4
1
0%
1
3%
1
0%
0
0%
0
0%
0
76%
30
85%
24
77%
35
2
11
Self-Study Template 35
LAS_FA_GRAPHIC_BFA_Q
2 or More Races
2
10%
2
7%
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 36
LAS_FA_GRAPHIC_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)
All full-time and part-time Graphic Design faculty actively participate in research and scholarship that includes
professional practice, exhibitions, presentations and scholarly publications. Through assessment and planning
activities faculty share and discuss syllabi, relevant improvements in technology, media and advancements in
pedagogical theory.
Published articles and books represent the Graphic Design Program’s commitment to scholarship and research.
Recently, program faculty have published in the following prestigious journals: Step Inside Design, Print
Magazine, Novum Magazine, Design and Culture Journal and several edited collections. Faculty have published
several highly acclaimed books and worked with both academic and trade publishers including Bloomsbury
Publishing / Fairchild Books, Rockport Publishers, and RIT Press. Faculty in the program regularly give
presentations and served as panelists at international and national conferences, seminars and trade events at
venues including Massachusetts Institute of Technology, Yale University, Rochester Institute of Technology,
United Nations Headquarters in New York, United Nations Offices in Geneva, Switzerland, the Rocky Mountain
College of Art and Design, The Institute de Diseño Darias, University of Connecticut Storrs, Parsons School of Art
and Purchase College, and Design Thinkers, Toronto.
The Graphic Design Program at St. John’s is fortunate to have faculty with subspecialties both in traditional
scholarship and professional practice including nationally televised motion graphics and broadcast design that is
done as part of their academic output. Examples of professional practice engaged in by Graphic Design Program
faculty includes; nationally televised; Wealth Track, Bill Moyers’ Journal, Bill Moyers’ on Faith and Reason, NOW
with Bill Moyers, Eat! Drink! Italy! with Vic Rallo, Trailblazers in Habits, Where We Stand; America’s Schools in
the 21st Century and various additional projects for The Environmental Defense Fund, Showtime Networks,
CineMax, HBO as well as the design of numerous print publications.
Creative output whether in the form of written research and scholarship or professional design practice informs
teaching, supports the University’s mission and goals and creates a vital bridge between the academy and the
professional world. Graphic 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. Lists of
research projects, scholarship and learning activities for the past five years can be found in the Annual Faculty
Activity reports of program faculty.
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 the opportunity to apply for competitive summer support grants and "seed" grants to all
full-time faculty. Innovative Teaching Grants are also provided by the Center for Teaching and Learning. The
latter provides 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.
The Departmental P&B and the Office of the Dean allow for funds for faculty development and travel. In the past
the Dean's Office, through its development fund, often paid for faculty to attend workshops on topics related to
teaching and or student engagement but currently travel funds from the Office of the Dean primarily pay for
Self-Study Template 37
LAS_FA_GRAPHIC_BFA_Q
faculty who want to attend or present at conferences. On occasion, the Office of the Dean provides assistance to
Art and Design faculty for exhibition and research expenses. In 2010 the faculty travel budget was re-continued
after being temporarily suspended due to University wide budget cuts and these funds have made it possible for
faculty in the Department of Art and Design to engage in additional research projects and to make more
presentations at regional, national and international conferences and exhibitions.
In addition, travel and conference funds are available to faculty who want to attend and/or are presenting in
professional conferences. The Office of Grants and Research is also available to assist the Department of Art
and Design faculty, and periodically forwards announcements regarding funding opportunities. Since 2012, our
faculty has more actively pursued the assistance of the Grants Office in order to comply with university
procedures and benefit from the services rendered by this office. One full-time faculty in this program was the
recipient of a summer support grant this past year and the other full-time faculty was the recipient of several
summer support grants in the past.
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.)
Fiscal Year
External
Funding
04/05
05/06
06/07
07/08
08/09
$ Amount
Program
$ Amount
Department
4,500
Fiscal Year
External
Funding
09/10
10/11
11/12
12/13
$ Amount
Program
$ Amount
Department
-
-
-
-
_________________________________________________________________________________
Externally Funded Projects
2008-2010
Sober 24/7: Reducing High-Risk Drinking among First-Year Students at St. John's
University, New York. Granting Agency: the Federal Department of Education – Gant
Competition to Prevent High-Risk Drinking or Violent Behavior among College Students
CFDA #84.184H. Grant applied through St. John’s Department of Wellness –Program
faculty participated in the initial grant writing and designed the media campaign segment
of the project. Responsibilities include overseeing the campus wide and community
based multi-media campaign Sober 24/7 (design work to be done by 8 paid graphic
design, fine arts, and illustration students) and to work with support staff and vendors on
Self-Study Template 38
LAS_FA_GRAPHIC_BFA_Q
coordination, content and production issues. Grant period – 2 years (2008-2010).
FUNDING EXTENDED THROUGH DEC 2010. Grant amount $200,000 and monies went
to several departments including the students and faculty in the Department of Art and
Design.
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)
Graphic Design
(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).
Overall course evaluations and instructional vibrancy for the Graphic Design program are higher than both the
college’s and university’s overall scores. This is in part due to the small class size and 5.4 contact hours for
studio art courses in the B.F.A. program and because our highly structured curriculum works to ensure that
students in the program engages in directed sequential learning and work with full-time faculty in at least one
major’s class each semester.
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)
100% - Both full-time faculty assigned to this program have terminal degrees in the field of Graphic Design.
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)
The Graphic Design Program has two full-time faculty dedicated to teaching major Graphic Design studio classes.
In addition both full time and adjunct faculty from the other programs within the Department of Art & Design
teach classes that are specific to the Graphic Design 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 faculty
includes: print design, motion graphics, web design, broadcast design, information design, sustainable design,
and Graphic Design history. The Graphic Design Program has a goal of educating well-rounded young
professional designers. To that end, several adjunct faculty, who work professionally as graphic designers,
currently provide additional technical and professional expertise to the program and teach classes for our
majors.
The Graphic Design program is the largest program within the Department of Art and Design and about 40
percent of students in the Department study Graphic Design. Our introductory graphic design classes also serve
Self-Study Template 39
LAS_FA_GRAPHIC_BFA_Q
several other majors in the Department including Illustration and Photography. In the past Graphic Design had
three full-time faculty but one of those faculty now teaches in other areas and has not taught Graphic Design
majors classes for the last several years. Graphic Design would benefit from an additional full-time faculty who
could share general coursework, but more specifically one who would specialize in interactive media design
and/or user experience design. Interactive media design is currently taught by adjuncts and because of strong
industry demand it is extremely difficult to find part-time faculty to teach in this area. In the last five years we
have not been able to retain any adjunct in this area longer than one semester. The turn over in part-time
faculty and lack of upper level classes in interactive media design and user experience design hinders our ability
to prepare students for employment in these specialized and highly desirable areas of graphic design. A fulltime faculty in one of these areas (which none of the current faculty have expertise in) would allow us to retool
our curriculum to better prepare students for jobs in interactive and user experience design and to more
equitably share the overall course load required by the program. While plans are underway to rework several
syllabi, a wider implementation of these skills in the curriculum is not possible given the challenges we have
finding and retaining qualified part-time faculty.
Upper level graphic studio classes are limited to 15 students, thus providing a 1:15 faculty/student ratio. Our
introductory Graphic Design classes are limited to 20 students.
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 3-D design, and one of which is a designated Thesis studio for our BFA seniors
and those working on Independent 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 computer labs, rooms 222 and 207, which are used for graphic design classes, some
photography and illustration classes, and the intro to video class. In the past the software in these labs were
updated every year and the hardware was included in the University wide 3-year rotation schedule. However,
since Adobe (the company which develops the bulk of software used by the Department) changed to a
subscription model for software purchases and updates the software in the Sullivan Labs has become outdated.
The labs in Sullivan Hall and elsewhere on campus are still using Adobe Creative Suite CS6, which is 2.5 years old.
The hardware in the Sullivan Hall labs is still on 3-year rotation and these rooms are still our most sophisticated
Self-Study Template 40
LAS_FA_GRAPHIC_BFA_Q
facilities. They include hardware and software needed to produce graphic design, photography and video. 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 and SJH 500 lack 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 most important long-term goal of the Department of Art and Design move into a space in which studios,
labs and lecture halls are centralized and built to meet the needs required by each discipline. The Department
has instituted several recruitment initiatives to help bolster our numbers but the condition of the art making
studios and the lack of integrated art and design space continues to be a challenge to both recruitment and
retention. Until such time, we have been putting our efforts into making the space that we do have as workable
as possible and have received 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 all majors in the Department of Art and Design 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.
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 decreased 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 Graphic Design Program
The Library's collections in support of the Department of Art and Design include the following:
Self-Study Template 41
LAS_FA_GRAPHIC_BFA_Q
 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 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
Self-Study Template 42
LAS_FA_GRAPHIC_BFA_Q
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 made 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 leaking ceiling pipes from
the men’s bathroom’s toilets were repaired. Addressing the latter issue imperative because leaking sewage
presented health hazards to our students when they worked in the Mezzanine studios. Unfortunately, during
the summer of 2014, the Mezzanine was also flooded by an air-conditioning compressor. This is one of many
issues we face on an ongoing 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 and with no ceilings, the cubicle model lack privacy to conduct 11 meetings with students. 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 to improve what
we have and make 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.
The Graphic Design program 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. These classrooms are maintained by
Information Technology. 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 2.5 years out of date. Older software presents several
challenges. First, students are unable to work with what is industry standard and what they are likely to find
Self-Study Template 43
LAS_FA_GRAPHIC_BFA_Q
when they leave school and become employed as Graphic Designers. Second most students have a subscription
to the Creative Cloud (on their laptops) 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. Graphic Design is a computer and software intensive field and lack of access to upto-date software also affects recruitment. We can no longer tell prospective students and their parents that St.
John’s offers instruction in industry standard software, which is used at peer institutions as well as the SUNY and
CUNY schools.
While we are fortunate to have use of the Sullivan classrooms, having classes offered in two different locations
on campus presents some challenges and Graphic Design 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 comparable to 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)
The following items detail improvements to the facilities in St. John’s Hall where several Graphic Design classes are held
and where students in this program take other classes required by the program.
• 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. (Refer to 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
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.
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 on the following page illustrates the positive cost effectiveness of the program.
Self-Study Template 44
LAS_FA_GRAPHIC_BFA_Q
The Graphic Design program had a contribution margin/profit of $ 429,763 for the FY 2014. The direct expenses of this
program are primarily the studio and digital lab maintenance, all of which are shared by all four BFA programs. In 2014,
we had one graphic design student who received tuition remission. The graphic design major has the most majors of the
four BFA programs. In the last 2 years, the program has also benefited from an International cohort of students from
Brazil, adding 5 students in the 2014-15 year and an expected additional 8 students for the 2015-16 year.
Standard 6.
N/A
Additional comments if needed. (Suggested limit 1 page)
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. (Refer to item 3b)

The BFA Graphic Design curriculum was revised in 2009 and during the last 5 years we have monitored students
as they progress through the new curriculum and found that the new curriculum structure has had a positive
affect on student success.

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. Typically only a few graphic design
Self-Study Template 45
LAS_FA_GRAPHIC_BFA_Q
students choose the Thesis rather than the Internship class but for these students designated work space will be
a significant improvement.

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
aggressively explore ways to improve both its internship and thesis programs.
Initiated plans for future improvements

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 graphic design program faculty will work with an external expert to assess the current offerings in User
Interface and Interactive design and update relevant syllabi and curricula to more effectively address these
areas within the program. Syllabi will be updated and the overall graphic design curriculum may be revised
based on findings from this assessment.

In an effort to continue global awareness in the area of graphic design, the department will be hosting a
designer and scholar from the School of Art and Design, Shenzhen Polytechnic, in Shenzhen, China. Dr. Xie will
work closely with our graphic design faculty and students and share her expertise in the area of graphic design
during the 2015-16 academic year.

The Department of Art and Design will begin the integration of 3-D printing in several classes during the Spring
2015 semester. 3-D Design (Art 2120) and Junior Design (Art 3135) have both been designated for pilot projects
in this area. Faculty teaching these courses will work with Eric Alvarado and staff in E-Studio to develop projects
that utilize 3-D printing and will begin working with and teaching new software so students can effectively
translate ideas, two dimensional drawings and dockets into the renderings needed to produce 3-D printed
objects. 3-D printing as broad applicability to several majors in the Department of Art and Design and the
inclusion of this technology into lower level classes will allow more advanced students to integrate 3-D printing
and modeling into class projects and Thesis work.

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
Self-Study Template 46
LAS_FA_GRAPHIC_BFA_Q
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 curriculums for all minors offered by the Department were updated so they
now require 18 (rather than 21) credits. Several programs have made significant revisions to the minor structure
to better serve students who come from 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.
Self-Study Template 47
LAS_FA_GRAPHIC_BFA_Q