introduction

teaching
2013. I currently fill two part-time teaching roles at Northumbria University and the University of Sunderland, UK. Since I am a full-time PhD student, these are typically short, fixed-term post . As associate lecturer at NU, I designed and delivered a 2nd-year module in Visual Communication Interactive Media Design, challenging students to create three distinct narratives from plot functions derived from the work of Vladimir Propp. I've also co-taught illustration and interaction design in the same programme.

As academic tutor at the University of Sunderland I tutor students in both the MA Design: Multimedia and Graphics, and undergraduate Illustration programmes.

I have taught a range of art and design courses in both full-time diploma and part-time continuing education (FE in the UK) programmes at the collegiate level at Algonquin College, Ottawa, and Centennial College, Hull, Canada.

beginnings
My experience with teaching in a classroom began in 1993 when a friend, Elizabeth Mountford, who was working at Algonquin College, Ottawa, asked me to teach a basic drawing class that was part of a certificate program in Continuing Education. I agreed to try it. At the time, the college was in a state of transition. The course was held at an old high school building. I remember not knowing how to begin a class, but found that the students were very patient. I slowly figured-out how to prepare material and present it. And I made lots of notes.

It got easier. I began to teach a DrawingII class and a life drawing class. Over the years, the other courses that were being offered as part of the certificate program fell away and the drawing courses that I was teaching were left isolated on the list of courses being offered, eventually being categorized as 'General Interest'. I kept the courses going; making posters to advertise them, going out and posting them around the campus and the city art stores. For me, the classes were becoming a source of enrichment for my own art practice, a means of reflection and a sounding board for ideas about how art works and how it can be taught. I enjoyed the students - the wide range of ages, different skill-levels and the life experiences that they brought to the classes.

The college built a new campus. For a couple of years the courses ran in a prefab located out in the parking lot. Life drawing models had to position themselves carefully between electric heaters. With the new campus the drawing courses came under the direction of a new department, and again became part of a certificate program. The notes that I had been making turned into weekly, one-page handouts. I developed a solid methodology for teaching drawing and began to compile them with samples of student work into a book named after the course, Gotta Draw.

Fred Sebastian, a good friend and fellow illustrator, invited me to teaching a workshop in the full-time Graphic Design degree program at Algonquin College. I taught Graphic Illustration. In 2005, despite record enrollment in the drawing courses, changes in the administration at the college lead to them being dropped from the curriculum.

Later that year I moved to Toronto, and in 2007 went to the UK to complete a masters degree at the University of Sunderland. While doing the MA, I began teaching again. As academic tutor I taught occasional classes in an undergraduate Illustration Life Drawing workshop. Later, while negotiating the terms of a PhD application in the Design Department, I co-taught Graphic Communications with Rob Burton, and stood-in for Dr. Manny Ling, tutoring the MA students in Design: Multimedia and Graphics. I continue to be a support tutor at the University of Sunderland, in 2011 bringing the MA: Illustration programme through the third semester.

In January, 2011 I began post-graduate studies at Northumbria University's School of Design. In October, 2011 I started teaching part-time in the Graphic Design programme, co-teaching one module, and designing and teaching another in March, 2012.

research
My main areas of academic interest are in design sketching and ideation, scenarios and storyboards, and supporting storytelling with game-like resources.

beginnings
While consulting in the high-technology sector in the early nineties, I began adapting brainstorming and storyboarding techniques typically used in advertising and filmmaking to areas of scenario-based design, such as user testing, focus groups, and future products development. Having fostered an interest in design systems and databases for some years, I began to develop scenario production and management tools to streamline the process and improve consistency. This led to the design of a kit that enables those who use scenarios to develop visual storyboards in-house (2005), and later a master of arts project called ‘workPlay: An ideation and sketching Tool’ (Jones 2008). The designs for workPlay were critically reviewed by an international panel of academics, professionals and experts. The research established that there is a need for an ideation and sketching tool like workPlay, however, a more pressing and persistent problem for design lay in the problem of telling design stories. This question has become part of the focus of my current Phil research at Northumbria University, UK.