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Report on Institutional Impact and Market Research

Submitted: August 08, 2014

Submitted to:OCAD University

Submitted by:

Higher Education Strategy AssociatesContact: Alex Usher, President

639 Queen Street West, Suite 402Toronto, Ontario M5V 2B7

(416) 848-0215, extension ‘0’Fax: (416) 849-0500

Email: [email protected]

mailto:[email protected]


TABLE OF CONTENTS

1. PROJECT INTRODUCTION......................................................................................1

2. PRIMARY MARKET RESEARCH – SKILLS GAP ANALYSIS...............................................3Introduction.......................................................................................................................3

Methodology.....................................................................................................................4

The Hiring Process............................................................................................................10

OCAD University and the Workplace................................................................................14

Skills and the Skills Gap....................................................................................................20

Conclusions and Recommendations.................................................................................23

3. CULTURAL IMPACT ANALYSIS..............................................................................25Introduction.....................................................................................................................25

Methodology...................................................................................................................26

Literature Scan.................................................................................................................28

OCAD University and the Arts Scene.................................................................................30

Cultural Space..................................................................................................................35


4. ECONOMIC IMPACT ANALYSIS.............................................................................40Introduction.....................................................................................................................40

Methodology...................................................................................................................41

Institutional Expenditure..................................................................................................42

Student Expenditures.......................................................................................................43

Impact of Graduates Earning Premiums...........................................................................45

Total Economic Impact.....................................................................................................47

5. DIGITAL FUTURES – TARGET MARKET PROBE.........................................................49Introduction.....................................................................................................................49

Methodology...................................................................................................................49

Respondent Characteristics..............................................................................................50

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The Decision-Making Process...........................................................................................50

Perceptions of OCAD University........................................................................................52

“Creative Digital Industries”.............................................................................................54

Digital Futures.................................................................................................................54


APPENDIX A: OCAD UNIVERSITY ALUMNI INTERVIEW INSTRUMENT.................59Key Informant Interview Instrument................................................................................59

APPENDIX B: EMPLOYER INTERVIEW INSTRUMENT – SHORT-FORM SURVEY....66Key Informant Interview Instrument................................................................................66

APPENDIX C: EMPLOYER INTERVIEW INSTRUMENT – LONG-FORM SURVEY......70Key Informant Interview Instrument................................................................................70

APPENDIX D: LIST OF BUSINESS FOR EMPLOYER INTERVIEWS...........................86

APPENDIX E: GEOGRAPHIC AREA COVERED BY ‘M’ AND ‘L’ AREA CODES.........100

APPENDIX F: DIGITAL FUTURES – TARGET MARKET PROBE INTERVIEW INSTRUMENT................................................................................................. 101

Key Informant Interview Instrument..............................................................................101

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1. PROJECT INTRODUCTION

With over 135 years of tradition and experience, OCAD University is one of Canada’s leading post-secondary institution offering arts and design education. Not only is OCAD University an academic and cultural hub, but it also generates a tremendous amount of economic prosperity for the local Toronto community, the province of Ontario, Canada, and across the globe.

In recent years, OCAD University has taken several measures to ensure its continued importance within Toronto’s academic and cultural milieu. On one hand, OCAD University has expanded its program offerings, keeping pace with the demanding, fast-moving trends of the labour market, by introducing programs such as Digital Futures (DF). Additionally, OCAD University has sought to capture and measure the extent of its impact, specifically at the local level. Its recent publication, Impact of OCAD University: Contributors to the Creative Community, draws on publically available data and secondary literature to provide an overview of the importance of the cultural and post-secondary education sectors, broadly, as well as of OCAD University, specifically.

In the process of compiling this research, and in its continued effort to offer highly relevant and effective programming, OCAD University has become aware of several areas of further inquiry that might be fruitful in capturing its economic and cultural impact at a more detailed level, as well as in examining program offerings so that they may match the shifting skills requirements of the labour market. For this reason, OCAD University has commissioned Higher Education Strategy Associates (HESA) to conduct a research project involving an examination of institutional impact, as well as primary market research.

As the research process began, it quickly become evident that this project was better framed as consisting of four distinct, though overlapping components: primary market research, a cultural analysis, an economic analysis, and a target market probe into the Digital Futures program. And although a connection certainly exists between these four components, and one finds themes that exist across the four sections of this study, we ultimately felt that the goals of this project were best achieved by approaching the study as a series of four, distinct projects, producing four distinct report sections. By dividing this project into its composite parts, we were better be able to provide OCAD University with concrete conclusions and recommendations, allowing us to meet he objectives laid out in the original Request for Proposal, as well as the additional requirements communicated to us by the client.

In the following pages, we explore each of these project sections discretely, though making mention when there are areas of overlap between project components. This study begins with a section on Primary Market Research. This section considers two thematic research themes: 1) an exploration of the skills employers are currently looking for when hiring in arts and design industries, specifically within the Greater Toronto Area; and 2) an analysis of student markets for current and potential institutional programs and initiatives, including an analysis of education and labor market expectations and desires. The purpose of this section, broadly speaking, was to construct a snapshot of the current labour market, both from the perspective of employers in arts and design industries, and recent graduates of OCAD University who work in those industries.

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By approaching the market research in this way, we were able to conduct a skills gap analysis which, in turn, allowed us to draw conclusions and make recommendations on programs and initiatives OCAD University can pursue in order to ensure that students are receiving the most current and applicable training with which to succeed in relevant industries.

The second component of this research project involved a Cultural Impact Analysis. Here, we sought to assess OCAD University’s cultural impact on two distinct but related communities within Toronto: the arts and cultural milieu (what we term, the Arts Scene), and the urban environment (i.e. Cultural Space). The cultural impact analysis was designed to help situate OCAD University in its local and institutional setting, as well as provide a literature scan to frame OCAD University’s cultural impact within the broader context of the institution’s impact within the arts and design community. The objective was not only to capture and comment on OCAD University’s current cultural impact, but also to offer suggestions on how to maintain and enhance that impact.

This report’s third component is an economic analysis. Naturally, OCAD University has an impact on the local, regional, provincial and national economies that extends beyond the direct spending by the institution. In this section, a full economic impact analysis estimated both the gross output and the value that is added to the economy as a result of this institution. The section was organized around one main objective: to analyze OCAD University’s economic impact in a local context, including relevant data on current students, alumni activities, staff, visitors and tourists, and physical plant. The resulting picture of OCAD University’s economic impact is a multi-leveled (local/regional/provincial/national), multi-dimensional (output/tax revenue/earnings/jobs created), and goes beyond the direct impact to show how the institution benefits the broader economy.

The final section of this report narrows its focus, and considers one specific program, the Digital Futures program, as part of a Target Market Probe. Recently created, the Digital Futures program is marketed as a highly collaborative, cross-disciplinary program, which provides students expertise in art, design, science, and enterprise. In the establishment of this program, OCAD University has set certain targets with respect to enrolment figures. To date, however, these targets have not been. As such, the Target Market probe examines key aspects of the program – both with respect to its construction, branding, and advertising – in order to better understand student perceptions of Digital Futures, specifically, and perceptions of OCAD University, more broadly. With this information, we offer a number of conclusions and recommendations on how OCAD University might adapt its strategy in order to achieve higher enrolment rates.

We thank OCAD University for the opportunity to conduct this research, and we hope that the institution benefits from our analysis and recommendations.

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2. PRIMARY MARKET RESEARCH – SKILLS GAP ANALYSIS

Introduction

Amidst fast-changing labour market demands, post-secondary institutions must remain proactive, ensuring that the skills and knowledge provided to graduates meets the evolving requirements of employers. Universities’ ability to provide students with market-relevant skills either through or alongside their academic programs not only impacts graduate outcomes but can also, in turn, affect an institution’s reputation. One way to understand and anticipate labour market trends is through market research and analysis of industry trends in those fields most relevant to an institution’s mission. This research can probe employers’ mindset, and in doing so can provide valuable information on desired skills and labour market gaps. The information gleaned from this analysis can also provide insights on market expectations and desires, which ultimately can help determine the best skills and program areas to for an institution to pursue within the context of employment and student demand in the GTA.

To this end, the Primary Market Research – Skills Gap Analysis section of this study seeks to provide answers to two thematic research questions. The first question explored the skills employers are currently looking for when hiring, specifically within the Greater Toronto Area. The aim of discovering such skills-preferences was to identify any potential labour market gaps in the specialized undergraduate and graduate programs offered by OCAD University. Here, particular attention was paid to new and upcoming undergraduate and graduate programs. This aspect of the study established the constraints and trends in the labour market from the specific perspective of potential employers.

The second research question provided a mirror to the first. Here, we collected and analyzed data on student markets for current and potential programs, including an analysis of education and labor market expectations and desires. This was accomplished by assessing current student demand for specific program groups, desired outcomes, and delivery preferences, as well as a detailed assessment of external factors, including long term economic changes, demographic trends, and shifts in the regulatory environment. Ultimately, this established the constraints and trends in labour market conditions from the perspective of recent graduates, including consideration of the impact of extrinsic and environmental factors.

Based on the evidence gathered above, we explored options for pursuing programs or initiatives that will situate OCAD University in a relative position of strength within the context of employer needs and recent graduate demand, with a specific focus on the Greater Toronto Area. We paid particular attention here to specific skills clusters, which best align with the assessed factors. Drilling down to the level of skill group clusters allowed this analysis to focus on specific labour market outcomes, and facilitated the comparison of programs and initiatives that share skill groups.

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Our findings for the Primary Market Research are organized into five thematic sections. The first section is a discussion of methodology, and outlines the background research, along with interview instruments, collection methods, and respondent profiles. Next is a discussion of “The Hiring Process,” which probes firms’ strategies and tactics when recruiting new employees, with a specific focus on the involvement of OCAD University. The third section, “OCAD University and the Workplace,” explores the localized labour supply – experiences, perception of quality, and labour direction of OCAD University graduates – both from the perspective of employers and of alumni. Following this, the fourth section examines “Skills and the Skills Gaps.” This section examined localized labour demand (skills and experience needed, or expected, by the most important employers of OCAD University graduates). This assessment was based on the status quo (recent experiences of graduates and employers), perceived or expected labour market characteristics (which are equally important in motivating employer, and graduate behaviour), and an assessment of exogenous factors, including demographic trends, long term economic and market trends, emergent factors (such as potential high growth sectors and technologies), and the potential for major changes originating from regulatory shifts. Last, a “Conclusions and Recommendations” section offers insights on various best programs and initiatives for OCAD University to pursue.

Methodology

It is crucial to note at the outset that the methodology and instruments used for the labour market assessment were specifically tailored to the needs and context of OCAD University and its students. The assessment criteria that would be appropriate for a professional business school, for example, are and should be different from those used by a university with a historical and current focus on arts, design, and emerging disciplines (such as strategic foresight or interactive technology). Tailoring the analysis in this way has made it more relevant to the shareholders, and to any future application of this study to decision making processes.

Several sources provided relevant background information ahead of conducting our primary market research. First, the industry categories outlined in the Strategic National Arts Alumni Project (SNAAP) was used in order to classify and delineate the various industries into which OCAD University graduates transition. We also referred to relevant studies on employment in creative industries to acquire relevant background information on employment trends in arts and design industries; these sources included: the Toronto Arts Council, the City of Toronto, the Martin Prosperity Institute, the Ontario Media Development Corporation, and the Otis College of Art and Design.

In addition to background research, we conducted primary research both with OCAD University alumni, and with employers in Toronto’s arts, design, and cultural sectors. Central to HESA’s approach was the design and delivery of three key informant interview instruments: one for recent OCAD University alumni, and two for employers in the Greater Toronto Area.1

1 Note: The instruments used in this section of the study are each reproduced as an Appendix to this document.

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Alumni Interviews

For the alumni interviews, recruitment was straightforward: OCAD University agreed to provide a list of potential alumni respondents from its institutional database. These respondents had all graduated from OCAD University within the past six years – meaning that all respondents received their degrees after OCAD University had received university accreditation. HESA staff prepared an invitation email, which was approved and distributed by OCAD University staff to recent alumni. The email invited alumni to participate in an incentivized interview, and guided potential recruits to an online scheduling portal where they could select a date and time for their interview.

These long-form, semi-structured, qualitative interviews lasted anywhere from 30 to 40 minutes, and were conducted by HESA staff. Although interviews followed the survey instrument, latitude was given to explore various areas in more detail, or go off-topic, at the interviewer’s discretion. HESA staff and OCAD University agreed to a target quota of 40 alumni respondents. To achieve this target quota, two rounds of 400 emails were sent by OCAD University staff to alumni.

The instrument for the alumni interviews was devised and deployed by HESA staff, and was approved by OCAD University. The instrument explored a number of issues relevant to recent OCAD University alumni. Broadly speaking, the instrument probed three areas:

A detailed description of respondents’ experiences when joining the labour market, and their experiences once on the job.

In in-depth exploration on the usefulness of specific elements of their OCAD University educational experience in this context, including skills learned (or not learned) as part of their program of study, employment support services offered by OCAD University, and informal employment supports (such as professional networks developed while enrolled).

A probe and exploration of alumni perceptions of a skills gaps in their current industry (i.e., skills or abilities that the respondent feels would have been useful to have learned, but that were not obtained while at OCAD University).

In total, forty-one OCAD University alumni participated in this section of the study. All respondents had graduated from OCAD University within the past six years, with a slight majority having graduated either in 2012 or 2013

All respondents work in the Greater Toronto Area; of these, 76.9% reported working in the city of Toronto proper. The strong majority of respondents (87.8%) were currently employed (either full-time, part-time, seasonal, contract, or freelance), while 12.2% of respondents reported that they were not currently employed in any capacity at the time of the interview.

Of respondents who reported being currently employed in fields directly related to their post-secondary programs of study, 67% were holders of Bachelor of Design degrees, while the remaining 33% were graduates of the Bachelor of Fine Arts program. The employment breakdown for holders of each degree, with respect to specific programs, was as follows:

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Table 1 – Respondent Employment Figures - Bachelor of Design, by Program – currently employedPROGRAM OF STUDY # OF RESPONDENTS

Advertising 2Graphic Design 6Illustration 5Environmental Design 4Material Art and Design 3Industrial design 4

Table 2 – Respondent Employment Figures - Bachelor of Fine Arts, by Program – currently employedPROGRAM OF STUDY # OF RESPONDENTS

Criticism and Curatorial Practice 1Drawing and Painting 7Integrated Media 4

Table 3 – Respondent Employment Figures - Bachelor of Fine Arts, by Program – currently unemployedPROGRAM OF STUDY # OF RESPONDENTS

Cross-Disciplinary Art Public 1Drawing and Painting 2Sculpture and Installation 2

As evident in the tables above, all respondents who hold Bachelor of Design degrees were currently employed at the time of their interview; contrastingly, of those respondents who hold Bachelor of Fine Arts degrees, 70.5% were currently employed when interviewed, while 29.5% reported being currently unemployed.

The industry sectors2 in which respondents work varied, as follows:

INDUSTRY SECTOR # OF RESPONDENTS FROM SECTORArts Community 2Creative Industry 8Design 15Service Industry 7Academia 3Cultural Sector 3Other 2

2 As mentioned, industry sector categories were taken from the classification system used for the SNAAP survey. SNAAP offers the following as examples of industry sector categories: “Arts Community” – practicing artists, curators, venue owners, gallery owners, arts advocacy organizations, arts education; “Creative Industries” – firms and professional associations, film, TV, digital media, publishing, music, design, advertising, architecture. “Cultural Sector” – government, non-profit, community development;

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Table 4 - Industry of Alumni Respondents


As the above chart highlights, the majority of respondents worked either in the Design (37%) or Creative (18%) industries. This result is not surprising, given that the majority of respondents held Bachelor of Design degrees, and are therefore more likely to be employed in related fields. On the other end of the spectrum, zero respondents worked in the digital media industry, and only 3% reported working the Cultural sector.

Employer Interviews

Two instruments were used for employer interviews: one short-form survey and one long-form. Our study focused on soliciting input from those among the core, content and creative segments of Toronto’s cultural and creative industries. By targeting firms within these industry categories, we obtained a good cross section and understanding of the perception and breadth of OCAD University’s cultural impact – this also provides rationale for not including certain employers (e.g. Starbucks) in our study. That said, even among alumni who are professional artists, 48% work a single job while another 49% work two or more jobs. As such, some caution must be exercised, as employers likely only partially represent the avenue through which OCAD alumni, staff and students contribute to the local artistic community and creative industries.

Furthermore, literature suggesting that artists and creative workers may sustain themselves with “day jobs” that do not account for their creative outputs – as reflected in part by the very high numbers of OCAD University alumni who participate in fine and crafts arts production in their free time3 – further supports this research project strategy of broadening the net of interviewees to include a broad range of intermediaries, tastemakers and likely employers across cultural and creative industries in the Greater Toronto Area. Interviewing across a cross-section of the cultural economy and arts community, with attention to the role of intermediaries and policy – is a practice common in case study research within various cultural industries.

Initially, OCAD University provided the names of roughly 200 businesses in the Greater Toronto Area related to arts and design industries. HESA staff then conducted internet research to compile contact information associated with each of those businesses, and to further populate the list. This process involved identifying the councils, boards, and associations to which the original 200 businesses belonged, in order to add related or associated businesses. In addition, a “snowball question” was included at the conclusion of interviews, which afforded the opportunity for respondents to identify other businesses that might be willing to participate in the study. Ultimately, a list of more than 1000 businesses was compiled. In some cases, business included several high-ranking contact names (such as a President/Owner, Manager, Director, etc.). As a result, the more than 1000 businesses on our list represented more than 1,500 contacts. This list became the basis for interview recruitment.4

Recruitment largely relied on “cold calling” contacts in order to gauge potential respondents’ willingness to participate in the study.5 Upon telephoning a business contact, interviewers asked potential respondents to participate in the long-form interview; if the contact was uninterested,

3 SNAAP, pg. 16.4 The business list can be found in Appendix D of this Report.5 It is important to briefly note that, as these calls were for the purpose of original market research, no anti-spam or DNCL legislation was breached

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HESA interviewers then asked if the contact might instead be willing to participate in the truncated, short-form interview of roughly 10-15 minutes.

As might be expected, given the nature of the collection method, recruitment proved challenging. Industry standards estimate “cold call” response rates at approximately 9%6 – though our study would ultimately achieve a response rate of slightly more than 14%. Having originally set a target of between 250 and 300 respondents, the slow pace of recruitment (coupled with reporting deadlines) forced a reevaluation of target quotas. After conversing with the client, it was agreed that a target quota of between 100 and 150 respondents would be more realistic given the timeframe, and would still allow for a useful sample size.

The two interview instruments for the employers survey were designed and deployed by HESA, and approved by OCAD University staff. The short- and long-form instruments explored similar themes, but did so to varying degrees of depth. The interviews collected information on company specifics as well as employers’ perceptions of their company, industry, and OCAD University – both as an institution, and with respect to its graduates. Interviews sought qualitative opinions on the following areas:

Employer satisfaction with the skills possessed by OCAD University graduates, Perception of OCAD University’s ability to prepare students for work in various

industries; Employers’ perception of the current labour market, and relevant industry-specific skills; Employers’ thoughts on the future of their particular company, industry, and the

trajectory of skills-requirements.

The long-form employer interviews lasted between 45 and 60 minutes, while the short-form interviews lasted roughly 10-15 minutes. Both sets of interviews were semi-structured and qualitative in nature.7 Although discussions followed an approved interview instrument, latitude was given to explore various themes in more detail, or go off-topic, at the interviewer’s discretion.

One-hundred-and-twenty-eight respondents participated in the Employer Survey section of this study – 79 completed the short-form interviews, while 49 completed the long-form interviews. The overwhelming majority (93%) of businesses are located in the Greater Toronto Area. Although we attempted – and successfully – interviewed employers from a variety of industry sectors, two sectors predominated: the Arts Community and the Cultural Sector. For the purposes of classification consistency, we reproduced the industry categories as outlined in the Strategic National Arts Alumni Project (SNAAP).

6, Andrew Kohut, Scott Keeter, Carroll Doherty, Michael Dimock, and Leah Christian, “Assessing the Representativeness of Public Opinion Surveys,” Pew Research Center for the People & Press, May 2012, pgs. 1; 2. 7 Both instruments can be found in the appendix to this Report.

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Figure 1 - Industry of Employer Respondents

Cultural26%

Arts Community40%

Creative Industries13%

Design9%

Digital Media5% Other

7%

The companies and organizations surveyed were, by and large, well established firms, with 46% of respondents having been in operation for more than twenty years, and only 2.3% of firms indicating that they were in their first year of operation.

Firms offered a mixture of employment-type, although “contract” positions were the most popular.

Figure 2 - Type of Employment Offered by Firm

Full-time / Long-term Part-Time Contract Freelance0

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70

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After establishing a firm’s particulars, the survey next probed on a number of issues pertaining to the labour market, and specifically OCAD University graduates’ experiences therein. The results of this exploration are presented in the following sections.

The Hiring Process

Employers were asked about their hiring processes and tactics in an attempt to better understand a firm’s approach, as well as to explore the level of proactive involvement OCAD University plays takes in helping graduates transition to the workplace.

Confirming current literature on the health of arts and design industries in the Greater Toronto Area, firms reported expected increases in hiring, as well as a healthy perception of their firm and industry. Ninety-one percent of respondents reported that their firm had either increased their number of employees (58%) or had maintained employee levels (32.5%) over the past three years. Only 9 % of firms noted a decrease in employee figures. Similar trends held for the hiring of recent8 graduates, where 53.5% of respondents reported hiring more recent graduates over the past three years, compared to 20% of firms, who reported hiring roughly the same number of recent graduates over the past three years. Interestingly, no firms reported hiring fewer recent graduates.

Overall, respondents possessed a generally positive view of their firm’s health, as well as the health of their industry, as a whole. When asked for their opinion on the overall business environment of their firm, 32.6% of respondents held a “very positive” outlook, while 18.6% felt “positive” about their firms overall health. Contrastingly, 14% of respondents held a “negative” view of their firm’s health, and only one respondent felt “very negative” about the health of their firm. Numbers were similar, though slightly less favourable, when respondents were asked their opinion on the overall health of their industry.

Figure 3 - Perceptions of Industry Health vs. Perceptions of Firm Health

N/A

Not Sure

Very Negative

Negative

Neutral

Positive

Very Positive

0 10 20 30 40 50 60 70 80 90 100

Firm Health Industry Health

8 For this study, we defined “recent” as being a person who had graduated within the past three years.

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Having established hiring trends and perceptions of firm and industry health, the survey explored aspects of the hiring process from three distinct, though related perspectives: employers, alumni, and the institution.

This first perspective – that of employers – explored the strategies and tactics employers use when recruiting new employees. Here , it quickly became evident that many employers in arts and design fields, specifically in the GTA, tend to conduct their hiring using informal networks. Employers were asked to explain their hiring tactics, listing multiple sources of recruitment, if necessary.

Figure 4 - Employer Hiring Tactics

Job posting on website

18%

Targeted search3%

Word-of-mouth55%

Print adver-tisement

2%

University Career Cen-

tre8%

Social media10%

Internship program3%

Exploring this data further, one finds several features of note:

Most employers use some form of word-of-mouth recruitment; Among websites used for recruitment, “Work in Culture” predominates as the job-search

website of choice; Only two respondents specifically mentioned using the OCAD University listserv, or

formal OCAD University career services to recruit new employees; One respondent noted conversing with OCAD University professors in order to gain

information on promising students (a form of word-of-mouth); “University Career Centres” was not frequently mentioned as a method thorough which

employers recruit potential new employees.

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As the above information describes, employers in the arts and design community overwhelmingly rely on word-of-mouth methods for recruitment.

"We meet with people who come recommended. We never hire a stranger."

“We rely on referrals from staff and friends. We get too many applications to look through all of them.”

“When we recruit, we go through our friends, and our friends of friends.”

The informality of the recruitment method should not be surprising; it does, however, indicate the importance of arts and design institutions in fostering and facilitating student access into these informal networks.

The second angle from which examined the hiring process was from the perspective of OCAD University alumni – specifically, probing the experiences of job candidates looking for work. One of the more interesting results was the extent to which OCAD University alumni used, or were even aware of institutional resources to aid with their job search. Recent alumni were asked if, while a student, they aware that OCAD University offered career-related services or programs while they were a student that could aid in their job search process after graduation. Here, 56% of respondents reported being completely unaware that OCAD University offered any type of career-related programs. Numbers were even more troubling when questions turned to students’ use of career development initiatives:

Figure 5 – Awareness and Use of OCAD University Career Services

Yes0

102030405060708090

100

Awareness and Use of OCAD University Career Services

"While a student, were you aware of any career-related programs offered by OCAD University?"When you started looking for a job, did you seek out or use any career development initiatives offered by OCAD University?"

Of the 44% of alumni who were aware that career service programs and initiatives existed, only 34% of this group used these services in any capacity. As evident above, very few former

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students used institutional resources to aid in their job search. An anecdote serves to highlight this point: one respondent, who had returned to school as a mature student, noted that she was able to easily find and use career services initiatives. Her point, however, is that as a mature student she was aware of the need for these services, and proactively sought them out. She reported being surprised by how few students were aware of, or used these types of programs. The point, therefore, is not that such programs and initiatives do not exist, of course; rather, students either are not seeking these services out, or the institution (as yet) is not doing enough to make students aware of these initiatives, and their importance.9

A third angle from which to understand the hiring process – and one that may not immediately come to mind – is the institutional perspective. An interesting feature of this section of the survey was the disparity that emerged between employers who had attended OCAD University events, and those who did so with thoughts of recruitment or a desire to scout potential future hires. It is clear that OCAD University-run public events are a popular draw amongst the arts and design community. A strong majority of respondents (85.4%) indicated that they had attended at least one OCAD University event, such as exhibitions, within the past three years. However, when asked if they had attended these events with the objective, or even contemplation, of recruiting future employees, only 21.2% of respondents indicated that they used these events as a method of scouting potential employees. Simply put, employers tend not to be thinking about recruitment when they attended OCAD University events. Looking at this from the student perspective, many students reported frustration in the lack of assistance of the professoriate in facilitating connections at these sorts of events. More than one alumni respondent mentioned that professors did not attend their student exhibitions, or did not follow-up on facilitating connections made at these public events.

This, perhaps, is an area worth exploring in greater detail in future; OCAD University might consider designing events in such ways that entice employers not just to attend (which they clearly already do), but also that get employers thinking about OCAD University public events as environments for recruitment.

Taking these three perspectives - employer, alumni, institution – together, an image of the hiring process emerges. Job-hunting in the arts and design industries predominantly relies on access to (largely) informal networks. Employers are looking for word-of-mouth recommendations from trusted individuals within their networks, and recent graduates are looking for ways to access these networks – graduates are confident with their technical skills; what they lack is the node at which to enter, and take advantage of these networks. From an institutional perspective, OCAD University could adopt this role through an active career services centre, by promoting graduates via public events, or by using its professoriate as intermediaries, connecting students to networks and opportunities. As yet, it seems, OCAD University has not maximized its potential in this regard.

9 During the course of presenting our findings, we became aware that OCAD University’s Career Services department is relatively new initiative. Our findings, therefore, should serve to underline the importance of promoting this department to students, making programs available to them, and ensuring that students understand the value of these services.

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OCAD University and the Workplace

Several questions probed issues related to how employers perceive OCAD University, OCAD University graduates and, specifically, how OCAD University graduates fare in the workplace relative to graduates of other institutions.

Many firms reported employing recent graduates. In fact thirty-seven of the forty-four companies interviewed indicated that their company had hired recent graduates.

The situation becomes somewhat more complicated, however, with the follow-up question, where respondents were asked to identify if they currently employed recent graduates specifically from OCAD University. To this question, only 43.9% of respondents answered in the affirmative, while 22% indicated they have not hired recent graduates from OCAD University, and 34.1% indicated that they were unsure from which school their recent hires had come.

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Figure 6 - Employment of Recent Graduates

No14%

Not Sure2%

Yes84%

Does your Company Currently Employ Recent Grad-uates?


Figure 7 - Employment of Recent Graduates of OCAD University

Yes44%

No22%

Not Sure34%

Does Your Company Currently Employ Recent Graduates of OCAD University?

Here, the “Not Sure” category is perhaps most instructive. Many respondents, it seems, do not put a premium on a candidate’s alma mater, focusing instead on a specific candidate’s qualities and skills.

"How well they do [in the hiring process] isn’t related to where they went to school; mostly it’s a personality thing."

This difference is most pronounced amongst respondents from the Arts Community and in the Design field. Employers from the Arts Community, such as gallery owners, frequently noted that a candidate’s alma mater has little bearing on their job success, and that a candidate’s personal talent or abilities is not directly attributable to institutional training. When employers from the design industry category were probed further, a majority suggested that OCAD University is seen as less effective than other institutions in educating designers (most notably York and Ryerson amongst institutions in the GTA).

This trend is highlighted further when one compares, side-by-side, the hiring of recent graduates from programs related to arts and design, with the hiring of students specifically from OCAD University.

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Figure 8 – Recent hiring of graduates from Arts and Design programs vs. Recent hiring of graduates from OCAD University

More Fewer Same Not Sure0

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Arts & Design OCAD University

Of note here is that while more than half of employers believe they will be hiring more Arts and Design graduates over the next three years, only one-quarter of respondents think they will be hiring more OCAD University graduates. This point suggests that, currently, OCAD University does not possess a competitive advantage over peer institutions (especially in the field of design). In many cases, employers simply do not pay much attention to a candidate’s alma mater; in other cases, however, OCAD University is seen as being in a position of relative weakness with respect to its graduates – in either case, OCAD University does not appear to possess a competitive advantage over peer institutions.

Of the respondents who were certain that they currently employ recent OCAD University graduates, very few (only 21 respondents) could recall the degree held by OCAD University alumni employees, or the program of study from which they graduated. 10 For those that knew this information, there was a wide distribution of the programs from which graduates were hired, and no particular OCAD University program exceled with respect to the hiring of graduates from a program or degree type.11

The most intriguing, if somewhat problematic, aspect of responses in this line-of-questioning is that employers seem to not immediately think of OCAD University as producing the best

10 That few employers could recall the specific programs from which OCAD University alumni graduated is not altogether surprising. In some cases, employers are being asked to recall programs of people they hired four, five, even six years ago; while this is possible for small very specialized firms, it is likely that many employers simply do not remember the specific programs from which their employees graduate. Of the data that does exist. 11 Of those could recall programs of study, Graphic Design was the most popular. BFA and BDes graduates were almost equivalent with respect to gaining employment. Again, however, the sample of those who could recall this data was too small to be of significance.

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prepared, or best performing graduates. In fact, when asked about how OCAD University graduates compare to employees from other institutions, with respect to on-the-job performance, only 16.7% of respondents could report confidently that OCAD University graduates perform “better than” graduates of other institutions.

Figure 9 - OCAD University Graduate on-the-Job Performance

Better Than17%

Equal To/It Depends39%

Not Sure44%

"In terms of on-the-job performance, how do OCAD University graduates compareto employees from other institutions?"

It is not that employers feel OCAD University graduates perform “worse than” graduates form other institutions – in fact no respondents felt this was the case. The majority of respondents were simply unsure; as well, many respondents reported that OCAD University graduates were “equal to” grads from other institutions, or that relative success depending on the individual, not the institution from which a student graduates.

Similarly, when asked how well OCAD University prepares its graduates for successful careers, only 5% of respondents felt confident that OCAD University does “very well” in preparing students for successful careers in various arts and design industries.

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Figure 10 - OCAD University Student Preparation

Very Well5%

Adequately14%

Somewhat14%

Not Sure/It Depends

67%

"In terms of on-the-job performance, how well does OCAD Uni-versity prepare its students for sucessful careers in your

industry?"

Here again, as to be expected, the majority of respondents thought that a graduate’s preparation and performance depends on the particular individual. There was, however, some cause for concern. In the open-ended questions associated with this topic, some comments from employers noted an inconsistency of quality among OCAD University graduates, variously in terms of their aesthetic and technical skills, their preparedness for transition to work, and individually their personal attitudes and initiative. While this is largely to be expected – some students are more keen and mature than others – the reference to arts and design skills may be worth further reflection by OCAD University to discern whether such inconsistency is the normal course of things.

The fact remains: respondents do not think that OCAD University graduates are any more likely to have the necessary strengths and skills than graduates from other institutions. OCAD University alumni simply do not benefit from a reputational advantage over graduates of other institutions.

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Skills and the Skills Gap

A number of questions posed both to recent alumni and employers explored perception of a skills mismatch between the skills attained by OCAD University graduates and the desired skills by employers in a variety of fields.12

To begin, employers were asked about what skills they prize in potential candidates when their company is hiring. Of the responses that align with the SNAAP categories, the top five skills that employers look for were as follows:

Interpersonal relations / collaborative skills Technical / Artistic technique Financial / Business management skills Creative thinking / problem-solving skills Entrepreneurial skills

We asked a related question to recent alumni, asking: of the skills acquired at OCAD University, what now seemed most relevant to success in their industry. Several interesting trends emerged. In one respect, it seems that several skills acquired by OCAD University students serve them well in their current industry, as they line-up with employers’ desired skills. These include:

Artistic technique Interpersonal relations / collaborative skills Listening / revising Critical thinking / argument analysis

Conversely, employers were asked about what skills institutions need to better provide students in order to prepare them for successful careers after graduation. The results were clear:

Table 5 - Skills That Should be Provided by InstitutionsSkill Category Frequency of Response (%)

Critical thinking / argument analysis 9Broad Knowledge and education 4.6Listening and Revising 9Creative thinking / problem solving 18.2Research skills 9Clear writing 55.2Persuasive speaking 9Project management skills 54.4Artistic technique 11.4Financial / Business management skills 83Entrepreneurial skills 56.6Interpersonal relations / collaboration 13.6

12 Here, in order to maintain reporting consistency, skills categories were replicated from those used in the SNAAP survey. Respondents were not prompted on these categories; rather, responses were recorded and then coded following the interview.

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Leadership skills 13.6Networking / relationship-building 22.8Teaching Skills 6.8

Here, one finds a clear emphasis on the need for institutions to better provide business and entrepreneurial skills, along with better writing skills, to its students. When respondents were prompted further, many indicated that, coming out of school, they lacked both the hard and soft business skills necessary to succeed in the current labour market landscape.

This point was driven home when alumni were confronted with a mirrored question, asking about the skills OCAD University graduates wish they had, but did not obtain at OCAD University:

Figure 11 - Skills that Now Seek Relevant

Critical

thinkin

g / ar

gumen

t analy

sis

Listen

ing and re

vising

Clear w

riting

Persuasi

ve spea

king

Projec

t man

agemen

t skills

Technologic

al ski

lls

Artistic tech

nique

Finan

cial /

Business

man

agemen

t skill

s

Entre

preneu

rial sk

ills

Leaders

hip skills

Networki

ng / re

lationship-build

ing

Teach

ing Skill

s0

102030405060708090

100

"What skills now seem relevant at your current job, but that you wish you had learned (and did not obtain) at OCAD University?"

Overwhelmingly, the most frequent responses were:

Entrepreneurial skills; Financial / business management skills; and, Clear writing.

From the perspective of employers and alumni, alike, a consensus emerged on a skills gap. Clearly, the majority of respondents felt that recent alumni lack the business and entrepreneurial skills (both hard skills and soft skills) required to succeed in the current labour market.

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Frequency of response (%)


Figure 12 - Skills Gap

This need for greater business acumen is, according to employer respondents, a relatively recent, as highlighted when employers were asked about changes to the profile of required skills of their employees over the past five years.

"The need for business skills and media marketing skills are probably the biggest changes over the past 5 years."

“What’s changed? New employees need better administrative skills than before – the ‘theatre’ world has stayed the same.”

“[In the last five years] we’ve hired people who have more business and entrepreneurial skills – they need to be able to market and sell themselves.”

“Stuff like project management and communication don’t change… but the tools have changed. For example, we’re now using things like internal social networks and new marketing tools. Our new hires need to be more comfortable with the totality of the business operations, and the technology that goes with it. They can’t just be designers.”

The landscape, evidently, has changed over the past five years. This is, perhaps, partly attributable to the rise in freelance work in the arts and design sector. Those who do freelance or contract work, or who are self-employed, must be comfortable with all aspects of the business process, requiring a range of skills that goes beyond the technical and theoretical knowledge

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obtained in arts and design programs. As well, it seems that the nature of arts and design companies has shifted in the past five years. Several respondents noted that their employees’ responsibilities are no longer segmented, and that everyone must now be comfortable with all aspects of the business, interchangeably. Respondents described that employees must be able to link theoretical knowledge with practical business know-how; they must also possess a familiarity with office technology skills such as email and social media use, and must have a good sense of professional etiquette.

How well has OCAD University adapted its programming to ensure that its graduates succeed in various industries? The numbers here were somewhat discouraging. Of the twenty-one respondents who currently employed OCAD University graduates, only three noted that OCAD University and its graduates had adapted “very well” with the changing skills-requirements over the past five years; while another three respondents indicated that OCAD U programming had allowed graduates to adapt “moderately well” to shifting skills profiles.

Conclusions and Recommendations

Ultimately, gaps have emerged over the past years between the skills provided to OCAD University graduates, and the skills most desired by employers in the GTA. As discussed, these gaps are most pronounced in the relative unpreparedness of recent graduates to cope with the business and entrepreneurial skills (both hard and soft skills) required by the current labour market. Redressing this gap will not only go a long way in ensuring that OCAD University graduates remain at the forefront of relevant programing, but also will provide students with the best academic preparation with which to succeed in their desired labour market, post-graduation.

Program changes that place greater emphasis on business acumen and entrepreneurial skills represents one area for improvement. Another, it seems, is in the role that OCAD University plays with respect to career services and professional network-building. Part of this might have to do with fostering a more proactive professoriate. Using professors’ networks and connections to facilitate students’ transition to the business world could be an area for improvement, and would allow students to be better situated to take advantage of employment opportunities, and established networks.

Further, as evident from the data, there seems to be a lack of proactive involvement from the institution’s career services in facilitating and assisting students with the job-search process – though exercising some caution given the department’s relative infancy. It might be the case that initiatives and programs exist, designed to provide students with tools with which to obtain employment; however, the fact remains: too few students take advantage of these opportunities and fewer still even know that they exist within the institution. Here, it is helpful to view the institution – and career services, specifically – as a link between students and employers. OCAD University is uniquely positioned to connect students with the job market, given its reputation and its role in hosting a number of very-well-attended exhibitions. It might be worth exploring how OCAD University’s career services can play a more active role in these public events, promoting student work not only for its achievement, but also for opportunities to connect students with the business community, facilitating a process of networking, and

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promoting the idea that businesses can use these events to recruit students for future employment.

These areas – career services, proactive professoriate, and using public events as networking opportunities – will have a positive benefit as a byproduct. Improving in these areas will allow OCAD University to claim a competitive advantage relative to peer institutions. As the data shows, OCAD University graduates are not performing poorly compared to graduates from other institutions; however, OCAD University (or its graduates) do not possess a competitive advantage amongst employers. Bridging the skills gap, and facilitating students’ transition into the labour market, will allow OCAD University to demonstrate their success, and the success of their graduates, thus developing a competitive advantage amongst arts and design-focused institutions.

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3. CULTURAL IMPACT ANALYSIS

Introduction

Although culture and creativity are seen as drivers of the socio-economic milieu, an institution’s economic impact is much easier to quantify. As such, the specific cultural impact that an institution has on its surrounding community often remains elusive, even to those within the institution itself. A cultural analysis, properly conceived, must seek to provide descriptive meaning to factors that are often presumed to be intangible. Determining cultural impact is a worthwhile venture, as culture, broadly defined, has gained prominence in urban and regional policy as a lever for development. The impact of cultural communities and institutions has been variously framed, as an economic engine, a tool for urban revitalization, a mechanism for place-making (and marketing), an ingredient to quality of life and quality of place, as well as an avenue for personal and social development.

Identifying and capturing cultural impact requires an understanding of how individuals and institutions interact with each other, and with their community. For instance, participating in the social community (e.g. gallery openings) and belonging to key networks (e.g. OCAD University alumni) of a cultural sector are important pieces in constructing a vibrant creative ecology where talent, ideas, skills, and projects can recombine for cultural initiatives (which, consequently, can provide significant economic contributions). OCAD University and its alumni network are important elements in this local cultural ecosystem, and represent significant pieces of infrastructure for the growing and changing cultural and creative economy that is recognized as a major economic driver in Toronto, in Ontario, and across Canada.

For this reason, a discussion of OCAD University’s cultural impact complements the larger project of institutional analysis, to including a nuanced exploration of the social dynamics of how OCAD University as an alumni network and as a university set within a broader community of creative and cultural producers. Our approach to assessing OCAD University’s cultural impact is to capture the institutions effect on three distinct but related communities within Toronto: the arts and cultural milieu (i.e. Arts Scene); various cultural industries (i.e. Creative Work); and, the urban environment (i.e. Cultural Space). These three key communities appear throughout the cultural analysis; they reflect key themes in relevant literature; represent groups of core, content and creative cultural workers within Toronto we’ve interviewed; and shapes the thematic basis on which our research findings have been organized and presented.

The cultural impact analysis is designed to help situate OCAD University in its local and institutional setting, as well as provide a literature scan to frame OCAD University’s cultural impact within the broader context of the institution’s impact within the arts and design community. The discussion of the main findings is organized thematically five sections. After a discussion of Methodology and a Literature Scan, this report presents findings on two broad spheres of cultural impact. The first, the “Arts Scene,” focuses on key contributions to the local community of artists and cultural producers in Toronto, and discusses the role that OCAD

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University plays within Toronto’s vibrant and growing creative economy. The second sphere, “Cultural Space,” presents a analysis of OCAD University’s contribution to the cultural revitalization of urban space. Last, a final section discusses themes that emerged through the data analysis, and presents conclusions and recommendations.

Methodology

As proposed, the cultural impact analysis section of the broader project uses a mixed-methods case study approach to explore and capture the effect of OCAD University on its local community, in terms of cultural impact. A case study of OCAD University and its immediate Toronto cultural sector and creative economy is relevant, as the client is most interested in understanding its various cultural impacts, in form and degree, within Toronto.

There is significant local context in terms of policy and academic publications on Toronto’s cultural policy, major arts institutions, creative industries and local artistic production, which make a case-study approach particularly rich and meaningful for the client’s understanding of their position within this broader, dynamic milieu. Given the complexity of the cultural impact assessment within Toronto, and the client’s interest in focusing on various aspects of its institutional strengths and contributions, the project forgoes comparative case studies; should the client desire deeper analysis of its position relative to peer institutions – whether within Toronto, or across peer institutions in other jurisdictions – we suggest that be undertaken in subsequent projects.

The cultural impact analysis portion of this project made use of the employer survey described in the Primary Market Research section of this Report. Specifically, this section drew from questions in the two sets of qualitative, semi-structured key informant telephone interviews with employers from industries relevant to likely occupations of OCAD University graduates.

The first set of key informant telephone interviews involved brief (10-15 minute) telephone calls with professionals, businesses, and other key targets in communities and industries likely to be effected by OCAD University. These interviews probe high-level questions about the networks, public participation, economic effects (including secondary effects and employment-related indicators), and perceived impact of OCAD University and its graduates. Only a sub-section of these questions directly inform the cultural analysis component of this report; however, the full data set were reviewed as part of the cultural analysis.

The second set of in-depth interviews was semi-structured, lasting roughly 45-60 minutes, and incentivized with a gift card for participation. From among a contact list of local cultural institutions and creative industry firms, HESA invited potential participants who matched our criteria for eligibility. These criteria, assessed by the interviewer at the time of the interview, include: a detailed knowledge of OCAD University or its graduates; senior level placement within their company, organization or cultural institution which operates in sectors related to OCAD’s mission; and strong understanding of the respective sector.

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These interviews were designed to explore, in-depth, employers’ perceptions of OCAD University, the role of OCAD in the business and cultural community, and the relationship (if any) between the employer and the institution. Through this approach, we able to assess on a broader and richer scale the impact that OCAD University has in the wider community, as well as the impact of its graduates.

To help contextualize the research approach and findings, it is useful to clearly identify who we interviewed and why. Firstly, given OCAD University’s desire to better understand its cultural impact locally, we targeted respondents in the Greater Toronto Area. To help refine our approach, we used the conceptual framework adopted by Ontario’s Ministry of Tourism, Culture and Sport in which creative clusters comprise those firms and individuals whose “primary occupation is the creation, production and monetization of creative products” (MTCS). Broadly defined, artists and cultural workers are at the core of a series of concentric circles that characterize the cultural economy: arts and cultural workers > content producers > creative industries > supporting industries, as shown in the figure below.

Figure 13 - The Broader Creative Cluster

One possible data limitation bears mentioning: we did not have access to full plant/facilities information nor account of faculty and staff participation in local arts activities.

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Literature Scan

The literature scan brings together a range of relevant academic and policy research, with emphasis on the local cultural sector context within Toronto and Ontario. Key themes and debates, which helped frame the original and revised project proposals for the cultural impact assessment, are summarized, with key insights for the local context and OCAD University institution highlighted.

This brings together a combination of academic, policy and industry research and reports, compiles, compares and described recent facts and figures. A critical concluding discussion will synthesize the data and its relevance for OCAD University in the context of its local cultural contributions. This section will also articulate how various data and evidence relate to the various ways in which the cultural economy manifests, and the multiple ways in which cultural impact may be felt. As per the project proposal, a key focus of the data and literature will center thematically on three overarching aspects of the local alts scene and cultural economy where OCAD University is anticipated to have cultural impacts. These three themes remain: cultural impacts on local neighbourhood in terms of social-physical space; contributions to Toronto’s arts and culture milieu; and OCAD U’s contribution to networks and opportunities within Toronto’s creative industries. Broadly speaking, these three themes – physical space, artistic community, and creative economy – are among the most significant aspects to which, academic literature and policy suggest, a cultural institution such as OCAD University may impact.

Drawing largely from academic literature in geography, urban planning, and cultural policy, we find that the role of the arts and culture is increasing in the economic sphere, both in terms of a growing cultural economy and thriving creative industries, as well as an increase in the cultural, symbolic and design aspects of more mundane products and humdrum economic activity. Whether from the perspective of understanding the spatial distribution of practicing across the country, or how artists connect with their local community in the construction of art identities and practice, there is a wealth of statistical and case study based research which we are using as the basis of a synthetic literature scan of the academic literature to identify key debates, emerging themes, as well as conceptual insights which are of particular relevance to the client, in understanding and framing the cultural impact of OCAD University.

There has been a rather tight correspondence between the academic and policy literatures regarding the connection between the arts sector, cultural economy, urban landscape and intermediary institutions, such as OCAD University. While municipal policy has not focused on cultural programs and creative industries as much in recent years, the is a strong legacy in Toronto of significant investment and policy development surrounding arts infrastructure and the cultural industries since, at least, the early 2000s. The connection between these policy discussions and the academic literature is evident also in OCAD University’s publication, Impact of OCAD University: Contributions to the Creative Community, which points to work by researchers (e.g. Professor Vinodrai), think tanks (e.g. Martin Prosperity Institute), government agencies (e.g. Ontario Media Development Corporation) and stakeholders (e.g. City of Toronto), which are contributing to a rich and varied set of debates about the state of creative economy, in Toronto and elsewhere.

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At an institutional level, and based on the findings of OCAD University’s institutional analysis (SNAAP 2011 Data Highlights), the emphasis on film arts, photography and design as a key personal activity of OCAD U alumni indicates the emphasis on visual arts (rather than creative writing, culinary arts, music or film) as the sub-segment of the cultural industries among which OCAD U alumni are likely to engage, and thus to which OCAD U is likely to have a meaningful cultural impact through its programs and networks. As such, the list of intermediaries approached for interviews includes strong representation among arts councils, galleries, fine arts and design guilds, as well as arts, crafts and design events.

Among the academic literature on vibrant cultural and creative economies (Currid 2007; Markusen and Schrock 2003; Scott 2004; Rantisi 2004) a recurrent and important theme for dynamic and innovative scenes of cultural production is the importance of social networks. Interesting, social networks was identified as critically important among over 50% of OCAD U’s professional artist alumni, in the form of strong networks of peers and colleagues; mentors and teachers; and public recognition of work (SNAAP p.15), and yet alumni also indicated rather poor institutional experiences on the very related skills of Interpersonal relations and working collaboratively, and Networking and relationship building (SNAAP p.13). Major themes and issues identified in policy and academic research on creative work include risk of self-exploitation, project-based work, feast and famine work-life cycle, blurring of professional and personal social spheres (e.g. see Vinodrai, McRobbie, Hracs).

Finally, with nearly 50% of OCAD University alumni respondents recognizing that the Opportunity to live in an artistically vital city (SNAAP p.15) suggests that there is a potential for strong connections between the university and place where OCAD University is located. Consistent with the literature, this happens at both the local neighbourhood (e.g. Lloyd 2006; Bain 2005) and wider city scale (e.g. Leslie and Rantisi 2006; Currid 2008). Moreover, local policy and media in Toronto have featured OCAD U and its iconic architecture during the city’s cultural renaissance of the early 2000s, during which period OCAD U was featured among Toronto’s major cultural institutions and signature buildings (e.g. Art Gallery of Ontario & Royal Ontario Museum). Toronto’s agenda-setting Culture Plan for the Creative City and its subsequent reports, identify and call for the strategic use of Toronto’s “arts, culture and heritage assets to position itself as a Creative City, a global cultural capital” (2003).

This wave of cultural revitalization was reinforced both by government and the private sector. Local and provincial government allocated resources to augment local cultural strengths in several ways, including the City’s Live With Culture campaign and the Ontario Cultural Attractions Fund investment in the inaugural Nuit Blanche (October 2006). Such policy interest and financial support was also present among private sector city-builders, notably the Toronto City Summit Alliance whose policy paper Enough Talk (2003) and Luminato cultural festival grew out of the local cultural zeitgeist of the moment. Whether by intention or accident, OCAD U was part of this renaissance and contributes to the set of urban cultural assets which supports the various aims of image building, cultural tourism, talent attraction and civic engagement which the urban policy language foregrounds. The significant investment of over $1 billion dollars in Toronto’s architectural renaissance prompted the City to be strategic about culture, and saw significant expansion of architectural projects.

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Shortly after OCAD U’s ground-breaking new building, a wave of cultural revitalization reshaped and renovated many cultural venues and galleries across Toronto, amounting to an estimated $1 billion investment in Toronto’s arts infrastructure, including flagship cultural institutions which marshalled resources from all three levels of government as well as private sector funding. The result is an architecturally distinctive, expanded the physical cultural infrastructure within Toronto that reflects a collective desire to develop internationally recognizable places. OCAD U’s main building is a striking feature of Toronto’s cityscape, which has a dual cultural impact: on one hand, the physical plant and galleries affiliated with OCAD U provide venues and workspace for the local arts community, while on the other hand, the unique and playful architecture of OCAD U’s facilities integrate the university with wider initiatives of culture-led urban regeneration.

Beyond the cultural impact which OCAD U has on its’ local community, the university also benefits significantly from being located in a large and culturally vibrant city. This echoes research on the spatial distribution of artists working in cities across the USA, where large urban centers tend to account for high concentrations of practicing artists as well as a greater range of thriving creative and cultural industries (Markusen and Schrock 2003). Major urban centers have also been noted to provide both the physical space for artistic and creative production (Rantisi 2004) as well a reservoir of cultural and symbolic cues that feed into artistic process and cultural products in a potentially virtuous cycle (Currid 2007, Scott 2004). In other words, beyond their basic infrastructure, big cities provide creative workers and cultural industries in particular with tangible and symbolic benefits to agglomeration. The role which OCAD U plays (in terms of physical plant and events), and is perceived to play (according to media representation as well as indicated during interviews) is a useful and meaningful aspect of the university’s cultural impact on Toronto. Moreover, OCAD U’s connection to the larger city and cultural communities within it is an asset for the university and potential resource for its students and alumni.

The following section of the report presents a discussion of the research findings organized thematically. The major thematic areas of cultural impact that are discussed in turn below include discussions of the arts and cultural milieu, cultural space, and conclusions and recommendations.

OCAD University and the Arts Scene

Our approach to assessing OCAD University’s cultural impact is to capture the institution’s effect on three distinct but related communities within Toronto: the arts and cultural milieu (the Arts Scene); various cultural industries (i.e. Creative Work); and, the urban environment (i.e. Cultural Space). These three key communities appear throughout the cultural analysis; they reflect key themes in relevant literature; represent groups of core, content and creative cultural workers within Toronto we’ve interviewed; and is the thematic basis on which our research findings have been organized and presented.

A key contribution of OCAD University to the collective artistic community in Toronto is that it produces – through its selection of students, cultivation of their talents, and specific training of technical skills – future cohorts of artists and creative producers. OCAD University is the

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primary institution that attracts, anchors and socializes artists and designers locally. Given the subjectivity and diversity of art and design fields, assessing cultural impact of OCAD University in terms of the stature of the artists it trains and the importance – whether dollar value or aesthetic content – of their works is beyond the scope of this study. However, a contribution of this study is to qualify the reputation of OCAD University based on our research responses. While the university also provides physical space, its faculty and students produce works and curate shows, the core contribution of OCAD University to the arts community is the cumulative indirect impact it has as an arts school. This should be foregrounded as a strength of OCAD University, since it is unique among Toronto’s cultural institutions in this capacity.

While other institutions and intermediaries in the Toronto area offer some services and activities similar to those of OCAD University (e.g. Ryerson and York University offer arts programs; Toronto Arts Council and Artscape offer professional development guidance for emerging artists), only OCAD University specializes in growing a broad base of art and design talent at a high caliber. This legacy and commitment to visual arts training is crucial; it is the cornerstone of OCAD University’s reputation and perceived unique value proposition among Toronto’s broader community of cultural and creative workers. The prominence of OCAD University as a post-secondary institution uniquely focusing on the visual arts is relevant within Toronto’s broader arts scene, which has a significant concentration of Canadian visual artists and the third largest critical mass of designers in North America.

Without question, OCAD University is well-known, and perceived positively among Toronto’s active artists, cultural producers and broader creative industries. A key finding is that there is strong institutional brand-recognition. Awareness of OCAD University as an institution is almost universal, with 97% of respondent being at least somewhat familiar with OCAD University.

When asked to described OCAD University and what it does, most respondents did so in very basic terms. The vast majority of responses repeated key words such as “art and design” (50%) or “arts education / training” (45%), which are reflected in the institution’s former, and longstanding, name: Ontario College of Art and Design. The fact that the open-ended and unprompted descriptions so closely adhere to the university’s name suggests that despite strong brand-recognition (akin to market penetration), and a strong general understanding of OCAD University’s main areas of focus, the depth of knowledge about OCAD University remains somewhat superficial.

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Figure 14 - Description of OCAD University (Word Cloud)

It is noteworthy that while comments reflect a deeper knowledge of OCAD University were sparse, two themes emerge from them. First, the uniqueness of OCAD University as an institution in Toronto was apparent in 14% of the comments. Second, unprompted comments qualifying OCAD University’s reputation were overwhelmingly positive (11%). The lack of any negative comments in this section is a strong indicator that, while familiarity may be somewhat superficial, it tends to be favorable.

This is relevant because it demonstrates that OCAD University is established among Toronto core cultural institutions. The fact that it is top of mind and positively perceived, albeit somewhat superficially, across the arts community presents an opportunity for OCAD University to take advantage of its significant brand recognition to communicate its strategic value. In other words, this strong awareness but vague understanding, presents OCAD U with the opportunity to focus and message-out what it stands for and contributes in a cultural sense to practicing art communities, creative industries and the city’s cultural vibrancy, among other strategic areas outlined by OCAD U’s current strategic plan. It is very likely that there is latent interest among Toronto’s cultural community for more specific messaging about OCAD University. Should OCAD University undertake new, or reinforce existing, strategic communications and publicity, the potential for positive impact and traction with those key messages is high.

Artistic Training

Overall, alumni reported strong satisfaction with their artistic training. We ran our own analysis of OCAD University’s institutional SNAAP data to understand how alumni value the artistic training they received while at OCAD University. Alumni across all programs felt that OCAD

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University contributed greatly to their artistic technique. In fact, 91% of SNAAP respondents noted that OCAD University had either “very much” (55%) or “somewhat” (36%) acquire or develop artistic technique – this skills acquisition proved beneficial for these alumni, as 87% noted that artistic technique was either “very important” or “somewhat important” to their current occupation. Most alumni feel that their artistic technique is important for their professions, while fewer BDes. alumni rated artistic technique very highly (with 39% of respondents noting their experience at OCAD University “greatly contributed” to improving their artistic technique). In addition to technique, BFA alumni most used opportunities to present artistic work through OCAD University. This reinforces the previously stated argument that OCAD University makes a major contribution to the local arts scene through its training.

Perceived Cultural Relevance

In order to quantify to some extent the cultural relevance of OCAD University to various spheres – specific fields of cultural work, a broader arts scene, and the city as a whole – we put the question to the cultural community through our survey. In all spheres, OCAD University is deemed culturally relevant by well over 50%. Notably 81% of respondents perceive OCAD University as especially relevant to the local arts scene and creative economy. This is the same figure – 81% – for those who indicated that OCAD University is especially relevant for the City of Toronto.

Figure 15 - OCAD Perceived Relevance, by CategoryOn a scale from 1-to-5 (with 1 being of “no relevance,” and 5 being “essential) how relevant is OCAD University to the following:

This is relevant because it strongly supports arguments for OCAD University having significant cultural impacts locally. Despite the difficulty in identifying and capturing cultural impact, there is clear evidence that the cultural community recognizes and values the contributions of OCAD University to a thriving cultural sector, arts scene, and creative economy. Similarly, OCAD University is a key and relevant cultural institution which benefits the city overall.

Respondents were asked to identify the areas in which OCAD University’s made the significant contributions – with answers subsequently coded into categories as outlined in the SNAAP

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survey.13 With respect to three spheres considered in this section, the categories ranked as follows: 1st arts community; 2nd creative industries; 3rd urban landscape. This reinforces findings that OCAD University is extremely relevant to the city and its cultural sector.

Table 6 - Areas of OCAD University ContributionCategory Response Frequency (%)

Arts Community 83%Creative Industries 59%Urban Landscape 36%

When prompted for open-ended responses to identify contributions that OCAD University makes of significance to Toronto’s arts and culture scene, a range of specific contributions were mentioned. There was some repetition among responses, which foreground some key contributions. For instance, OCAD University as a key place for artists to train, practice and meet each other was evident in multiple comments.

"[OCAD University] is hub for artists.”

“[OCAD University] is a place for artists to become artists.”

[OCAD University] produces the people that contribute to the sector.”

“[OCAD University] produces a great quality of artists: they provide an excellent education”.

Additional key contributions mentioned were about OCAD University’s physical presence in its main building, OCAD University’s strong reputation, which bring artists to town, and their role in the community as a sponsor. Taken together, the most significant contributions identified by the community relate primarily to OCAD University’s impact in fostering a close-knit community of well-trained artists and cultural producers, as well as its specific impact in terms of arts and design education.

Although fostering local networks artistic training are of course important factors of cultural impact, they can also be a double-edged sword, as each poses a danger that threatens to limit OCAD University’s broader cultural impact. With respect to networks, one theme that arose in responses to both surveys, as well as alumni experiences, was that OCAD University network is particularly tightknit. The perception that OCAD University’s networks are difficult to access or penetrate is associated with a range of outcomes. In terms of student success and alumni satisfaction, an overly-tight cultural community can result in poor mentorship since those who succeed may take for granted the supports they accessed, while those who are disconnected from 13 Some of these categories included: Cultural Sector (e.g. government, non-profit, community development); Arts Community (e.g. practicing artists – visual, performing and musical arts – curators, venue or gallery owners, arts advocacy and education); Creative Industries (e.g. firms and professional associations in film, television, digital media, publishing, music, design, advertising, architecture); Urban landscape (e.g. architecture, public art, vibrancy of neighbourhood).

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these supports may perceive a lack of support instead of issues of accessibility. More significantly in terms of OCAD University’s cultural impact in the broader cultural community, where OCAD University is perceived as being insular and apart from the broader arts community, this poses threats to the ability of OCAD University to get recognition for the cultural connections it undertakes in the community, whether that be through sponsoring events, making public art, or service on the boards of cultural organizations.

A similar concern was noted with respect to skills training. A theme that arose in some employer anecdotes that may limit OCAD University’s cultural impact was concern that some of the skills obtained from the established traditional art programs on which industry depends may be overshadowed by new design emphasis in curricula. A specific example of this relates to the ceramics program. As well, employers mentioned other post-secondary institutions including Sheridan College, Ryerson University and York University, as peers and competitors for training new arts and design talent. This is a relevant clause to the aforementioned strength of OCAD University within the arts school niche. The relative position of OCAD University among its peers is not fixed, and can remain, rise or fall in the future, especially as art and design fields shift.

Despite these issues of potential concern, the positive recurring themes reiterate and support key findings previously mentioned and anticipated from the relevant literature. Even the less frequent comments, like those about physical presence and sponsoring events, gesture to the third theme of urban landscape in terms of how OCAD University is culturally animating physical space.

Cultural Space

A third key theme where we anticipate OCAD University to have cultural impact relates to the role it plays in shaping physical spaces. A main line of the policy and academic literature suggests that the arts contribute to revitalization of big and small urban spaces, both in terms of cultural artefacts – such as public art installations and architecture – as well as through activities which animate social space and generate the cultural vitality of places. In keeping with the observed data from our study, the discussion of key findings here will focus on the physical spaces and architecture of OCAD University.

The most frequently cited and significant contribution OCAD University has on the urban environment in terms of cultural spaces is undoubtedly the iconic architecture of their main building. Based on survey data, comments about physical plant amenities such as dark rooms, and concern about the building being overcrowded and in disrepair were very much the minority. Overwhelmingly, OCAD University’s main building was recognized as a major contribution and significant cultural asset for the university and the city alike. The iconic building is visually referenced in the OCAD University brand, logo and promotional materials; it is also featured in tourism and promotional materials of the broader city.

Figure 16 - OCAD University Main Building: 100 McCaul St., Toronto, ON

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OCAD University’s main building was the most frequently remarked upon contribution to physical cultural space. Below are some examples of typical comments.

“I love the building. Integral part of their brand. One of the few buildings in the city that's been on the cover of architecture magazines. ”

“Great architecture.” “I love the building. Very noticeable. Artistic.” “Building is very interesting; definitely adds to the appeal of the school and helps

Toronto seem more committed to the arts” “Great building. Best contribution.” “Landmark that people can recognize and identify with. Impossible to ignore. Really is a

unique building.”

The massive investments in this “starchitecture” seems to have paid dividends; the unique building places OCAD University among other major cultural institutions – such as the Art Gallery of Ontario, the Royal Ontario Museum, and the Four Season’s building of the Canadian Opera Company – in media discourse Toronto’s cultural renaissance.

There is apparent concentration and clustering of OCAD University physical plant assets in proximity to the Art Gallery of Ontario (AGO). A tendency towards cultural clusters is apparent in policy and academic literature and observed across cultural industries at both a metropolitan and neighbourhood scales. In other words, while certain cities (e.g. New York fashion, Nashville music) become synonymous with the cultural products it is known for; so too smaller urban areas become associated with concentrations of cultural sites and amenities (e.g. distillery district, Queen West, Liberty Village).

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While the research does not show any reputational association of a visual arts cluster, the close proximity between OCAD U and the AGO was noted. When small scale cultural clusters emerge organically, this is often attributed to affordability (and sometimes zoning) of space on the one hand, and the benefits of being close by other creative workers and firms which service cultural production (e.g. printers, art suppliers). The latter might be relevant for OCAD University, since several connections between OCAD University and the broader community were transactional; in other words, goods and services that sell to art students (e.g. art shops) or which rely on art student output (e.g. galleries and shows). Regardless of the reason why the pattern of spatial concentration has arisen, the fact of the matter is that it exists and was mentioned by some of our survey respondents in contrast to Ryerson University. While OCAD U was perceived as being centered and anchored downtown with close connection to the AGO, Ryerson was perceived as being more spatially dispersed throughout Toronto and having broad engagement with various urban spaces. This was a relatively minor feature in the data, but raises themes of spatial concentration and connection to urban space which OCAD University may wish to reflect on.

Contribution to Cultural Vitality

It is noteworthy that there was no direct mention or connection drawn between OCAD University contributing to a cultural vibrancy in the immediate neighbourhood or city, beyond very frequent mention of the actual physical building (architecture, historical relevance of building site, and as a venue for installation work and Nuit Blanche). This is not to suggest that OCAD University makes no contribution to cultural vitality; rather, it seems that, despite artistic contributions to public art and parks, OCAD University’s broader impact on cultural vibrancy does not appear to be at the forefront of respondents’ thinking. In fact, several respondents noted this seeming lack of contribution to cultural vitality:

"[OCAD University] does not directly impact the area, culturally… other than the great building.”

“[OCAD University] is good as a campus space, but the school isn’t really good at integrating itself with, or impacting, the broader arts scene.”

This suggests that OCAD University is perceived as a passive site (i.e. building, stage) not an active player (i.e. institution, animator) in how it contributes to the cultural vibrancy, activities, and identity of its immediate McCaul/Queen neighbourhood and the City of Toronto. The salient point here is that OCAD University is regarded as a neighbourhood asset, but not necessarily a city asset – a factor that may create problems in terms of generating long-term civic support for OCAD University initiatives.

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The cultural impact study has found that OCAD University is a significant cultural institution that contributes in various ways to Toronto’s arts community, creative economy, and urban environment.

OCAD University’s most significant contribution to the local community of core artists and cultural producers is twofold. Firstly, as an established cultural institution with a positive reputation for strength in visual arts education, OCAD University confers to the city and artistic community the stature of its reputation. Secondly, OCAD University is recognized by the local arts community for its important, indirect contribution, specifically in terms of its high-quality training of new visual artists. These factors, positive though they may be, also possess limiting features. Although OCAD University has strong brand-recognition, the recognition borders on superficial, and the institution is often strongly associated as a “traditional arts school.” This conception that may limit the institution’s ability to maintain its impact as demand shifts towards more design-oriented fields – an area in which OCAD University does not possess a competitive advantage over peer institutions.

The main contribution of OCAD University on urban cultural space is through the university’s main building, which is OCAD University’s most widely recognized key cultural asset. The strength of the building – both as a physical cultural space and brand cue – are crucial to the university and its impact on the community. However, the spotlight emphasizing the main building’s architecture may risk casting into shadow OCAD University’s other physical assets and community outreach activities, and threatens to silo the institution, geographically and culturally, to the gallery-heavy area in which its main campus is located. To prevent this, and further expand its cultural impact, OCAD University must proactively seek to offer greater contributions to the cultural vibrancy of the Greater Toronto Area, and avoid the tendency to be perceived as a passive actor in the cultural sector, avoiding the tendency to associated OCA University as “the arts school” due to its physical proximity to prominent galleries, such as the AGO.

Beyond its impact on the skyline, OCAD University could, for example, invite the community to explore its famous building through events like “Doors Open Toronto” which featured many cultural buildings and architecturally significant edifices. Given that programs like Doors Open now have interactive maps of their features sites, participating in programs such as this would leverage an existing asset – the iconic building that OCAD University invested over $40 million in building and which is top of mind for many respondents when asked about OCAD University’s cultural contribution to Toronto – and literally put OCAD University on a map for tourists and culturally-minded citizens. Evidence of participation in events such as this as well as the ensuing attendance figures, are measures that could potentially better demonstrate OCAD University’s cultural relevance to the broader city.

Overall, this study finds that OCAD University is a core cultural institution in its own right, and has experienced a fair degree of success toward achieving the priorities identified in its strategic plan, particularly as relates to its reputation as an art, design and policy leader and community builder. It does, however, face significant challenges in maintaining and expanding its cultural

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impact. These challenges present opportunities for OCAD University to connect itself as an active node of cultural impact.

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4. ECONOMIC IMPACT ANALYSIS

Introduction

The economic impact portion of this study seeks to satisfy one main objective: to analyze OCAD University’s economic impact in a local context, including relevant data on current students, alumni activities, staff, visitors and tourists, and physical plant.

In a more detailed sense, however, a number of research lines lay at the heart of this section, and are worthy of further exploration. These lines of research include:

An assessment of the specific economic impact wrought by OCAD-organized public events and galleries

Annual spending patterns of OCAD students, faculty, and staff

Information on OCAD alumni, such as their business ventures, and spending contributions

Capital planning and expected costs, including renovations to current physical plant

OCAD University has an impact on the local, regional, provincial and national economies that extends beyond the direct spending by the institution. A full economic impact analysis estimates both the gross output and the value that is added to the economy as a result of this institution. The economic impact analysis is comprised of a number of features, including: estimates of the tax revenue (at the municipal, provincial and federal level), employment (including self-employment) earnings, and the number of jobs created from the operations and activities of OCAD University.

This analysis will not only consider the direct spending by the institution, its students and its faculty and staff, but also the economic activity that is caused by that spending. For the purposes of this report, we define “direct spending” as the total spending of the institution itself, including payroll costs. This also includes the additional spending by students caused by the attendance at OCAD University. “Indirect spending” captures the impact of the direct spending on firms and other economics agents in the region, holding the spending behaviour of households constant. Third, “Induced spending” is calculating by allowing the spending of households to change due to the increased spending, and capturing the effect on the economy.

Direct spending by OCAD University on operations, research, ongoing maintenance and capital projects is of course important, but only represents a part of the overall economic impact. The indirect impacts, which represent changes in the behaviour of suppliers to OCAD University (which includes employees of the institution), students who relocate to attend — particularly international students, is also examined. As a cultural destination, OCAD University attracts visitors to the region, and their spending is a part of the indirect impact. The actions of alumni,

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particularly those who start businesses and create new jobs can also be considered an indirect impact.

The direct and indirect impacts are used to estimate the induced impact from the institution, based on Statistics Canada’s Input-Output model. Also, a multiplier effect was used to capture the effect of those dollars added to the economy as they circulate through it.

The resulting picture of OCAD University’s economic impact is multi-leveled (local/regional/provincial/national), multi-dimensional (output/tax revenue/earnings/jobs created), and goes beyond the direct impact to show how the institution benefits the broader economy.

Methodology

The economic impact portion of this project involves data collection and analysis. We obtained this data from a variety of sources. We obtained the annual income data from Statistics Canada, from the most recent Census and from the Labour Force Survey. To determine student expenditure, we drew data from a variety of sources, including the State of Student Aid (SOSA) reports, the Survey of Labour and Income Dynamics (SLID), data form the Canada Mortgage and Housing Corporation (CMHC), as well as Statistics Canada’s reports on Tuition and Living Accommodations Costs (TLAC). Additionally, we have received internal data from OCAD University in the form of their results from the Strategic National Arts Alumni Project (SNAAP).

We also analyzed the both the code book and policy report for OCAD University’s 2011 participation in SNAAP. This SNAAP data, along with the data sources mentioned in the previous paragraph, formed the evidentiary basis for analyzing and determining OCAD University’s economic impact

To calculate this total economic impact, the results of an Input/Output model are used to estimate the ways that this spending moves through the economy. Statistics Canada estimates input-output models for each province and provides multipliers based on this model that measure how spending in a particular industry or category makes its way through the economy.

For the purposes of this analysis, the most recently estimated multipliers (from 2010) are used. These multipliers are estimated at the provincial level only, so an estimate of the economic impact on the Greater Toronto Area (GTA) along is not possible.

This section of the report is divided into three major sources of spending that result from OCAD University. The first source considers direct spending by the institution, including faculty and staff spending, other sources of direct spending, and a summary of total institutional spending. Next, we examine spending by current students enrolled at the institution. The third spending source conserved in this section documents and reports graduate earning premiums. This section concludes by calculating the total economic impact as a result of the direct, indirect, and induced spending as a result of OCAD University.

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Institutional Expenditure

Faculty and Staff

In the 2011-12 academic year, OCAD University paid $41 million in salaries and benefits to its faculty and staff. Total faculty and staff numbers are unavailable for that year, but in 2012-13 this represented 115 full-time faculty and part-time faculty equivalent to 143 full-time position and graduate teaching assistants, equivalent to 16 full-time positions. Thus, staff totals equal 377 positions, and represent the equivalent of 234 full-time positions.

In terms of geographic location, these staff members generally live in Toronto, or the surrounding area. In fact, eighty-four percent of faculty and staff live in postal codes beginning with ‘M’ (Toronto), and 11% reside in areas with postal costs that begin with ‘L’ (the “L” postal code designation represents a large portion of southern Ontario – stretching as far south as Port Colborne, and as far north as Penetanguishene).14 This means a total of 95% of the faculty and staff live – and therefore Ontario, representing the indirect effect of this type of spending of OCAD U faculty and staff. If the increased household spending created by these positions—the induced impact—is taken into account, a total of 63 FTE positions are created in the province.

In dollar terms, the $41 million in faculty and staff salary and benefits becomes $49 million when indirect spending is included. Accounting for increased household spending, the total of direct, indirect and induced spending is $65 million for the province.

The multipliers also provide an estimate of the taxes paid due to this spending $750,000 in direct taxes, $1 million when indirect spending is added and $2 million when induced spending is included. This would include taxes at all levels of government.

Direct Spending

In the 2011-12 academic year, OCAD University spent $24 million on direct expenditures (i.e. not including faculty and staff salaries and benefits).15 With respect to job creation, this spending created an estimated 155 full-time jobs directly, and, when indirect spending is added, resulted in 187 FTE positions. In addition, when the induced spending of households is considered, a total of 238 FTE positions are created by OCAD University’s direct spending.

The $24 million in direct spending increases by $4 million when one considers indirect effects – such as the increased spending of university suppliers. The additional spending, however, has a snowball effect, as extra spending in turn causes others to spend more. When this additional spending is calculated and added, the total direct spending of OCAD University reaches $38 million.

14 For a map of the geographic areas covered by ‘M’ and ‘L’ postal codes, please see Appendix E.15 Since the Statistics Canada Input-Output model estimates a multiplier for the university sector, this multiplier is the correct one to use for this spending as well.

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In terms of tax revenue, the direct spending by OCAD University generates $400,000 in taxes at all levels of government. This figure increases to $600,000 when indirect spending is included, and the total climbs to $1.2 million if induced spending is also included.

Total Institutional Spending

As an institution, OCAD University spent $65 million during the 2011-12 academic year. When one takes into account the impact of indirect spending, the total institutional spending figure increases to $77 million. When induced impact is considered, the resultant total institutional spending of OCAD University is calculated at $103 million.

This direct spending has significant impact on job creation. Total institutional spending of OCAD University in the 2011-12 academic year created 389 full-time jobs (or the equivalent in part-time positions). Adding indirect impact increases the job-creation total to 470 FTE positions. When induced spending is considered, the total job-creation of OCAD University is 535 full-time equivalent jobs.

This total spending by the institution results in direct taxes of $1.15 million to all levels of government. The consideration of indirect spending increases that total to $1.6 million. When induced spending is taken into account, the total tax revenue generated by OCAD University is $3.2 million.

This section has covered the spending by the institution itself. The remainder of this document moves to examine the economic impact that the institution’s presence has on the economy.

Student Expenditures

The economic activity of students represents an important component of the overall impact of the institution. The tuition and other fees paid by these students to the institution are already accounted for by the institutional spending above, so these estimates will not contain those amounts. Rather, this section considers and reports the impact that current OCAD University students have on the economy. OCAD University has over 14,000 alumni, with 58% of these living in the Greater Toronto Area.16

To properly use the available multipliers, student spending must be allocated across the industry categories. For this section, a profile of student spending was constructed using two sources: the OCAD University estimates of the cost of attendance and the Strategic National Arts Alumni Project survey, analyzed by HESA, for the spending of GTA area students.

The spending amount and spending mixture of students varies considerably, especially depending on whether a student chooses to live with his or her family while attending university. In order to accurately capture the true economic impact of OCAD University student spending, the total spending of students who live with their family cannot be fully incorporated into the

16 It is important to note, briefly, that calculating the spending of current students is slightly more difficult to measure than the direct spending of institutions, as only estimates of student spending are available.

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analysis. In the case of those who live with their family, only additional spending can be included. For example, if a student chooses to live with their family while attending university, “normal living expenses” - such as rent, food, utilities – cannot be included in an analysis of economic impact, as these expenditures would be incurred regardless of whether that student was enrolled in university. That said, some aspects of student expenditure – such as transportation and supplies – that are independent of “normal living expenses,” and are necessary in order to attend OCAD University can be included in the analysis. This caveat is also true of students who live on their own in within the Greater Toronto Area.

According to internal institutional sources, OCAD University has a count of 4,586 current students. As outlined in the Impact of OCAD University: Contributors to the Creative Community report, these students create a total spending figure of $28.4 million.17 Taking into account the caveat mentioned in the previous paragraph regarding total at-home spending, vs. additional at home spending, we estimate that $20 million of that student spending figure can be counted towards the OCAD University’s economic impact.

In order to assign a multiplier to student spending, figures needed to be classified into industry categories. To do so, HESA used expenditure information for home and away students based on figures calculated from OCAD University’s institutional report, as well HESA’s analysis of student expenditure data. The result allowed us to assign a proportion of student income to each category. The industry categories used for this part of the analysis are as follows:

Clothing and clothing accessories stores Banking and other deposit credit intermediaries Arts, Entertainment and Recreation Food and Beverage Stores Health and Personal Care Stores Electronics and Appliance Stores Software Publishers Periodical, Book and directory publishers Office Supplies Telecommunications Urban Transit Systems

For students who live away from home, we assume that some additional spending will be incurred, beyond spending directly related to enrolment at OCAD University. For the purposes of this analysis, we included student expenditure figures that are allocated in the following categories:

17 This figure was calculated using internal data from a recent OCAD University report. The report estimates that the cost for students living at home is approximately $3,200 per student, which, when multiplied by the assumed figure of students living at home, equals a student expenditure figure of $10.5 million. In addition, OCAD University staff estimates that students living away from home spend approximately $13,700 per student, per year. Multiplying this figure the number of students assumed to live away from home yields a student spending total of $17.9 million For a detailed breakdown of these figures, see: Laura Wood, Impact of OCAD University: Contributors to the Creative Economy, July 2013, pg. 13.

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Dry cleaning and laundry services Lessors of real estate

The following table represents absolute spending for OCAD University students living at, and away from, home. These absolute figures were adjusted using proportional allocation.

Figure 17 - OCAD University Student Spending (in $000)

When adjusted for proportional expenditure, students living at home spend $3.57 million, which became $5.3 million when the indirect spending is included. Adding induced spending brings the total to $6.6 million. This student spending had an impact on job-creation, as students living at home created the full-time equivalent of 28 jobs – 38 when indirect spending is included. Adding induced spending brings the job-creation to 45 jobs. With respect to generating taxation revenue, students living at home pay an estimated $120,000 in direct taxes, $213,000 when indirect spending is included and $303,326 with induced spending.

As can be expected, students living away from home have a higher total spending. OCAD University’s estimates for students living away from home are $17.9 million, and $15.9 million of that can be counted towards economic impact. This direct spending creates the equivalent of 93 full-time jobs in the province. With the inclusion of indirect effects this figure rises to 137 jobs; the total job-creation figure increases to 162 jobs when induced effects are accounted for. The indirect effect of this student spending is $23.1 million when added to the direct spending. Adding induced effects brings this to $27.7 million. The student spending, attributable to OCAD University results in $1.8 million in direct taxes, $2.1 million when indirect effects are included, and $2.4 million with induced spending.

The total economic impact of current student spending at OCAD U is $20 million in direct spending -- $28 million with indirect effects and $34 million with indirect and induced effects. This created 121, 175 and 207 jobs when direct, indirect and induced inputs are considered.

Impact of Graduates Earning Premiums

An important part of the economic impact of OCAD University is the economic contribution of its alumni. This must be approached somewhat differently than the other impacts presented in this document. In economic terms, education increases the human capital of students—improving their earnings compared to those who do not achieve the same level of education.

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While the mechanism by which education improves earnings (and presumably labour productivity) is a matter of debate among economists, the empirical evidence shows that graduates of PSE programs earn more—in general—than those with less education.

For the purposes of this economic impact assessment, we consider the earnings of all currently working alumni. OCAD University cannot claim all the earnings of their graduates as part of the economic impact, as those individuals would still be able to earn if they had not graduated from a PSE institution.

Instead, we capture the earnings premium from having a PSE education and apply that to the number of graduates from the institution. OCAD University has over 14,000 living graduates, and the majority of them live in the GTA. The earnings premium is the difference between what the individual would earn with a lower level of education and the one the level they did complete. Since we do not observe these two values for any one individual, we calculate an average earnings premium for various gender and age groups.

The breakdowns by gender and age are particularly important. The earnings patterns of men and women are quite different, as are their returns to education. Overall earnings and the education premium also tend to change over time as workers gain experience and the opportunity to put their skills to use. The number of graduates can be broken down by these age and gender categories based on historical information from OCAD U. The student’s year of graduation is used to assign them to one of these age categories: 25-34, 35-44, 45-54 and 55-64.

The estimates of the earnings premium are based on the 2006 census, adjusted for inflation. The 2006 census was chosen because of the replacement of the census with the 2011 National Household Survey.

The census contains information on the earnings of Ontarians with different levels of education. There are also counts of the number of people with these levels of education. This allows us to determine the proportion of Ontarians in each gender and age group that hold a particular type of education credential. This is combined with the earnings for individuals with that credential to produce an average for that group. We compare the average earnings to the earnings of Bachelor’s degree holders to produce an average premium for each age and gender group. Please see the table below for the premium for each group, in 2011 dollars.

Table 7 - Average Earnings PremiumBelow

Bachelor'sBachelor's Premium

Sex Agesfemale

s25 to 34

years $33,972.48 $39,172.56 $5,200.0835 to 44

years $39,986.34 $48,548.10 $8,561.7645 to 54

years $42,004.37 $53,346.52 $11,342.1555 to 64

years $39,689.62 $51,663.25 $11,973.63

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males 25 to 34 years $44,504.70 $46,422.27 $1,917.57

35 to 44 years $54,804.93 $60,318.13 $5,513.20

45 to 54 years $58,288.21 $65,654.67 $7,366.46

55 to 64 years $53,050.91 $63,397.96 $10,347.05

With these premia we can consider a total economic impact of OCAD University alumni on the province.

After graduation, not all students will remain in the province. From the 2011 SNAAP survey, 58% of graduates remain in the GTA and 69% remain in Ontario. We do not consider the 31% that do not remain in the province as part of this assessment.

The survey of graduates allows shows that 70% of the alumni are employed full time and 22% of alumni are employed part time. These employment rates are used to adjust the amount of economic impact.

After these adjustments, the total direct impact of the alumni that remain and work in Ontario is $137.2 million.

The total impact of OCAD University alumni does not stop there, however. The additional spending power of the alumni creates approximately 137 additional jobs.

The next stage of the economic impact of alumni is to determine the impact that increased alumni spending induces. These induced effects increase the number of jobs to 152. They also contribute $248.5 million to the economy and $7.4 million in induced taxes.

Total Economic Impact

This document has presented a preliminary look at the economic impact of OCAD U on the economy of Ontario. While we can assume that a large proportion of this impact will occur in the Greater Toronto Area, information on the multipliers at the municipal or regional level is unavailable.

This section will discuss the total impact of both spending by OCAD U through payroll and other spending and by the current students at OCAD U. The first set of totals presented here does not include alumni spending.

The direct spending due to OCAD U is $85 million. When the indirect effects are considered—that is, when the increased spending of suppliers is accounted for – the total rises to $105 million. When the actions of households that receive this additional income – and spend more – are considered, the induced impact, the total is $137 million.

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This spending due to OCAD U increases the tax revenue collected by all levels of government by $3 million directly, $3.9 million with indirect impact and $4.9 million with induced effects.

Finally, the spending described here will create a number of jobs – described here as the number of full-time equivalent positions that can be traced back to OCAD U.

Direct spending by OCAD U and current students results in 510 additional jobs in the province. When indirect spending is included that rises to 591 jobs and to 631 jobs when induced effects are included.

When the total alumni spending attributable to OCAD U is included, direct spending increases to $260.9 million, indirect spending is $280.9 million and induced spending is $455.7 million. The total induced taxes are $14.4 million. The total jobs created directly becomes 686, 767 jobs created when indirect spending is included and finally 826 jobs when induced spending is included.

Table 8 - Total Direct Economic ImpactDirect Economic Impact

Direct Spending

Faculty and Staff

StudentsCurrent Alumni

Jobs 155 234 121 176Income $24,000,000 $41,000,000 $20,000,000 $175,900,000Taxes $400,000 $750,000 $1,800,000 $40,500,000

Indirect Economic ImpactDirect

SpendingFaculty and

StaffStudents

Current AlumniJobs 187 234 175 176Income $28,000,000 $49,000,000 $28,000,000 $175,900,000Taxes $600,000 $1,000,000 $2,100,000 $40,500,000

Induced Economic ImpactDirect

SpendingFaculty and

StaffStudents

Current AlumniJobs 238 297 207 195Income $38,000,000 $65,000,000 $34,000,000 $248,500,000Taxes $1,200,000 $2,000,000 $2,700,000 $44,900,000

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5. DIGITAL FUTURES – TARGET MARKET PROBE

Introduction

In an attempt to remain at the forefront of relevant programming, OCAD University recently constructed a new program: Digital Futures (DF). The DF program is marketed as a highly collaborative, cross-disciplinary program, which provides students expertise in art, design, science, and enterprise.

In the establishment of this program, OCAD University has set certain targets with respect to enrolment figures. To date, however, OCAD University has yet to achieve these targets. As such, the University is interested in probing relevant target markets in order to better understand student perceptions of Digital Futures, specifically, and perceptions of OCAD University, more broadly. This information will provide OCAD University with meaningful insights with which to achieve higher enrolment rates.

Methodology

For this section of the study, we conducted in-depth, qualitative telephone interviews with respondents, all of whom satisfied predetermined demographic criteria. Successful respondents needed to be between the ages of 18 and 23 years old. In addition, all respondents needed to express interest in design and/or technology and/or digital media fields – the objective here was to find respondents most likely to enrol in a DF-type program at a Canadian university or college.

Respondents were recruited using a variety of methods. Initially, HESA staff conducted in-person recruitment by visiting several HackLabs throughout Toronto. Returns from this recruitment method, however, were minimal, as the type of individual attending HackLab events tended to be twenty-five years old, and above, thus falling outside the target age group. Subsequently, a mixed-methods recruitment approach was adopted, involving: targeted emails to organizations with a design and/or technology and/or digital media focus, and whose clientele fit the desired age category; calls to high schools with design and/or technology and/or digital media classes; and, a Facebook ad to recruit interested individuals via an online registration portal.

The study set a target quota of twenty respondents, which was met. Although this number inhibits drawing quantitative insights, the nature of the study relied more heavily on qualitative responses; as such, twenty respondents provided enough qualitative material with which to draw conclusions.

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The instrument for this section of the study was devised by HESA staff, and approved by OCAD University. The instrument not only probed a respondent’s specific knowledge of the DF program, but also explored respondents’ decision-making processes when choosing a particular institution for postsecondary study. At the same time, a second objective of the instrument was to explore why respondents might not immediately think of OCAD University when considering enrolment into a DF-type program.

These key informant telephone conversations lasted roughly 30-45 minutes in length, and although they followed a predetermined and preapproved interview instrument, conversations moved into a variety of areas, as interviewer (HESA Research Associate, Mark Tagliaferri) explored a number of issues with respect to OCAD University and Digital Futures program, at his discretion.

Four broad questions structured the logic and organization of the instrument:

What factors influence student decision-making when choosing an institution for a design, technology, and digital media-related program?

What is the perception of OCAD University amongst students interested in design, technology, and digital media fields?

What do students currently know about the Digital Futures program? What would they need to know before enrolling in such a program?

Why might students choose programs at institutions other than OCAD University?

Respondent Characteristics

All respondents were between 18 and 23 years old at the time of their interview. The average age of respondents was 18.25 years old. More males enrolled in the study than did females: 15 males participated, while five females were recruited for the interviews. All respondents were either currently enrolled in a college or university program related to design, technology, and/or digital media, or planned to enroll in such a program within the next two years. All respondents currently resided in the Greater Toronto Area.

The Decision-Making Process

There is a wealth of literature exploring the push and pull factors that motivate students to select a particular institution over another.18 Our research explored this topic, with an eye towards understanding the institutional decision-making processes amongst students specifically

18 A comprehensive examination of this topic, including a literature review, is Torben Drewes and Christopher Michael’s “HOW DO STUDENTS CHOOSE A UNVIERSITY?: An Analysis of Applications to Universities in Ontario, Canada.” The authors used a unique set of micro-data on university applications to examine the role pled by institutional attributes in choices made by graduating high school students between seventeen universities in the province of Ontario. The authors found that (in order of importance): location, financial aid, faculty strength, and non-academic student services are the factors that most determine the institution to which a student chooses to apply. Torben Drews and Christopher Michael, “HOW DO STUDENTS CHOOSE A UNIVERSITY?: An Analysis of Applications to Universities in Ontario, Canada,” Research in Higher Education, vol. 47, no. 7, November 2006, 781-801.

HESA 49


interested in design, technology, and/or digital media fields. The objective was to determine if students with these particular interests conform to the standard literature on decision-making, or if this subset of students have different motivating factors when choosing to attend an institution.

Our research largely confirmed the existing literature, which cites location, financial aid, and faculty strength as key motivating factors in the student decision-making process. In this study, respondents overwhelming hewed to these traditional motivating factors in the institutional decision-making process. When asked to offer the “most important factor when thinking about where to attend university or college,” respondents listed the following, in order of response frequency:

Programs offered by the institution; Location of institution; Job opportunities after graduation; and, Financial aid.

Respondents were also remarkably consistent in explaining why they wanted attend university or college. Here, all but one respondent noted that the reason for pursuing postsecondary education was to “gain skills and/or knowledge.” Beyond this, “finding a job post-graduation” and “making friends” were the next two most common responses.

Probing the issue of skills at a more granular level, the survey turned to explore the specific types of skills that respondents most hoped to acquire while at university or college. Although a range of answers were offered, the five most frequent responses were (in order of response frequency):

Technological skills; Broad knowledge and education; Interpersonal and collaborative working skills; Creative thinking and problem solving; and, Clear writing skills.

Lastly, when considering the decision-making process, respondents were asked to select between two relative terms, offering their thoughts on which of the two options was more important when considering what university or college to attend. The relative term options are reproduced below, with the more frequent response choice underlined.

Academic Rigour vs. Employment Employment vs. Class Size Community vs. Academic Reputation

One interesting point to note here is that, although mentioned twice in the relative term section of the survey, “employment” was not selected by a majority of students in either case. This occurred despite the fact that “post-graduation jobs” ranks among the top choices when respondents were probed on important factors when deciding on what institution to attend. It seems that although students are thinking about jobs in a longer-term or perhaps abstract sense, even at the outset of their postsecondary careers, they do not necessarily consider an institution’s

HESA 50


job-placement record as being more important than the immediate impacts of academic rigour or class size.

Overall, respondents in this study who expressed interest in design, technology, and/or digital media fields tended to conform to pre-existing notions of the postsecondary decision-making process. Program offerings, location, post-graduation job opportunities, and financial aid were all in the forefront of respondents’ minds when deciding on which institution to attend. Respondents also expressed similar agreement with respect to the sorts of qualities and skills they hoped to attain from university, and the reasons for pursuing postsecondary education at a particular institution.

Perceptions of OCAD University

Having probed respondents’ decision-making processes, the study then considered respondents’ perceptions of, and attitudes towards, OCAD University.

All respondents were familiar with OCAD University, and more than half of respondents had either visited OCAD University’s campus, spoken with an OCAD University representative, or attended a presentation hosted by OCAD University, at some point within the past two years.

Respondents overwhelmingly agreed that OCAD University was a strong institution for students interested in arts and design. Similarly, when probed on the opinion of their peers and friendship circles, respondents again noted OCAD University’s strength in arts and design education:

"[My friends] think [OCAD University] is a really interesting school. People who really like arts and design programs can definitely sharpen their skills”

“My friends think [OCAD University] is great for design and arts – it gives people theoretical knowledge and practical, hands-on learning.”

Of those respondents who had discussed OCAD University with their parents, there was, unsurprisingly, general agreement about the institution’s strength in arts and design education. The one area where parental opinion seemed less positive, however, was in perceived overall academic rigour, especially when compared to benchmark institutions.

"[My parents] think [OCAD University] is a good school… but they think it maybe isn’t as academically great or well-rounded as schools like U of T or York."

Among parents, it seems, OCAD University is identified as a strong arts and design institution, though it perhaps lags its competitors with respect to perception of overall academic quality. This, of course, is not necessarily a detriment, as it suggests that OCAD University has done well to make its brand synonymous with Canadian arts and design education.

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Respondents identified with this arts and design branding when probed to provide words or phrases that best described OCAD University. Most common among responses was that OCAD University was: unique, original, and had a very popular and recognizable flagship building. Likewise when describing the type of student who may attend OCAD University, respondents frequently noted that OCAD University students were imaginative, creative, unique, and non-conformist. As an institution, given a choice of relative terms, students overwhelming identified OCAD University as being:

Provocative Modern Collaborative Collectivist Flexible; and, Specialized

This tendency to identify of OCAD University specifically as “the arts and design school” seemed to inform perceptions on the institution’s strengths and weaknesses, and perhaps constitutes a double-edged sword. For instance, when describing OCAD University’s strengths, respondents most frequently noted OCAD University’s hands-on, practical arts and design education. When the subject turned to weaknesses, however, this specialization in arts and design was seen as something of a detriment, as was the job prospects of arts and design graduates, more generally.

“[OCAD University] allows students to steer their own path in the arts, with great guidance, and great hands-on lab facilities. They’re study abroad program seems pretty interesting, as well.”

“[OCAD University’s] biggest weakness is its lack of strong programs not related to arts and design. It maybe doesn’t offer as wide a range of courses as other schools… it’s a little too specialized.”

“Arts school grads maybe don’t get the best paying jobs, afterwards. It kind of puts them in a box.”

As such, the overall perception of OCAD University was that of a strong arts and design institution – a well-known commodity within the specialized subset of arts and design program offerings, and boasting well-liked and recognizable architecture. At the same time, the strength of being perceived as “the arts and design school” led many to gesture towards the perception that OCAD University suffers from over-specialization, perhaps making potential enrollees less likely to apply to programs not seen as being within the confines of traditional arts and design fields.

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“Creative Digital Industries”

With perceptions of OCAD University established, the study next turned to explore the more central matters of OCAD University program offerings, specifically with respect to the Digital Futures program. The Digital Futures program specifically markets itself as guiding students towards careers in the “creative digital industries,” and so the study first probed respondents’ familiarity with this concept. Overwhelmingly, respondents’ struggled to define what was meant by “creative digital industries” (the Digital Futures website offers no definition to elucidate the concept to site visitors). What is more, a keyword search of “creative digital industries” on Google.com yields very little definitional assistance. It might be the case that industry professionals and academics understand the term; however, the average 18-23 year old in this study had extreme difficulty understanding or conceptualizing the phrase. Once a definition was provided, respondents seemed to grasp the concept well. Nevertheless, the initial unfamiliarity acted as an impediment to respondents’ ability to identify with the Digital Futures program.19

Once an understanding was reached on the concept of “creative digital industries” respondents were asked to identify what universities or colleges they might consider if they were going to enrol in a program that centred on the creative digital industries. The following institutions were mentioned, in order of frequency:

OCAD University Ryerson University Sheridan College Mohawk College York University

Here, some caution must be exercised. The study, to this point, had focused heavily on issues and perceptions of OCAD University; thus, when asked to list institutions, it is not surprising that OCAD University was mentioned first, as it was likely in the forefront of respondents’ minds, given the progression and nature of the interview. That said, it is just likely that OCAD University would be considered among those institutions offering programs that lead to careers in the Creative Digital Industries. In fact, a slight majority of respondents were confident that OCAD University offered programs specifically tailored to the creative digital industries, though the remaining respondents were “not sure.”

Digital Futures

When the study turned to probe issues of the Digital Futures program, specifically, an interesting disconnect became evident: although students had indicated that OCAD University likely offered programs leading to careers in the creative digital industries, respondents were much less certain about the Digital Futures program, itself, and how (or even if) it fit into the scope of OCAD

19 Unfortunately, this study did not probe further into how students defined “creative digital industries” for themselves. Doing so might offer some clues as to how to better present the program, and its professional objectives, to potential enrollees who may be unfamiliar with the technical language.

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University program offerings. Four central issues became clear: recognition, understanding, classification, and perception of quality.

Program recognition or lack thereof, emerged as a clear impediment to the Digital Futures program success. Almost all respondents were entirely unfamiliar with the Digital Futures program. In fact, the overwhelming majority of respondents had never heard of the Digital Futures program, and were entirely unaware that OCAD University offered this program.

Complicating matters further, respondents struggled to understand what the program consisted of, or offered to students. Asked to describe what was meant by the term “Digital Futures,” respondents thought of the following words and phrases:

Digital Future trends New technology A name for a music festival

Evidently, the name “digital futures” did not resonate with students in a way that allowed them to accurately conceptualize the program, or its mission. Similarly, the overwhelming majority of students were not even aware that such a program was on offer from OCAD University.

The third issue that became evident concerned the concept of classification. Interestingly, respondents did not immediately recognize the Digital Futures program as falling under traditional arts and design categories. In fact, when students were presented with the website text explaining the program, many remained confused (some becoming more so) about the program’s scope or mission. When the program was explained further, it wasn’t immediately evident to students that this program fell either under traditional arts classification, traditional design classification, or something else. After more discussion and explanation of the program, students tended to characterize Digital Futures as being a design program, though a hybrid or interdisciplinary one.

These problems with classification had an impact on the fourth challenge facing the Digital Futures program: having categorized DF as a design program, respondents were hesitant to recognize OCAD University as having a competitive advantage over its peers in this area. Once an understanding was reached on the program’s mission, respondents were asked to indicate institutions that might excel in this type of program offering. OCAD University was mentioned, but was mentioned less frequently than York University, Sheridan College, Ryerson University, and Mohawk College. When this result was probed further, it became clear that respondents did not necessarily view OCAD University as being a particularly strong institution for design-related programs.

“If I was going to go into this kind of program, I’d probably go to York or Ryerson. I think they’re a bit stronger in this area.”

HESA 54


Again, it is not that OCAD University has a bad reputation; rather, the fact is that OCAD University does not possess a competitive advantage amongst its peers, specifically in design-related programs. Ultimately, opinion was spilt on whether respondents would consider enrolling in the DF Program, as several respondents expressed interest, but wanted more information. When prompted to explain what information respondents would need before enrolling, the most popular answer concerned post-graduation jobs, and the career paths of students already graduated. Part of this is simply a problem of time: new programs do not have the ability to highlight the success of their graduates. Nevertheless, OCAD University competitor institutions go to great lengths to demonstrate the outcomes of their programs; it worth considering how OCAD University can demonstrate value-added relative to its peers.


The challenges for the Digital Futures program are threefold:

1. Target audiences remain unclear about what “Digital Futures” and “Creative Digital Industries” means;

2. When terms are explained, respondents are not sure how this area relates to arts and design schools; and,

3. When explained that OCAD University offers this kind of program, OCAD University is not necessarily seen as first choice in this field.

One possible suggestion with respect to the challenges of recognition and understanding would be to redesign the promotional and informational material for the DF program. As it stands, there is tremendous confusion regarding nomenclature. Two examples will suffice. For a student unfamiliar with the program, the following is their first introduction, as found on the Digital Futures undergraduate program website:

Are you an X-shaped designer? The focus ofthe Digital Futures undergraduate program isto develop “X-shaped innovators” for thecreative digital industries. Each point of Xis an expertise: in art, design science andenterprise. Creatives acquire practicalknowledge in these areas and also learn tocollaborate brilliantly with industry and expertsacross the fields.

There are several features in this block of text that hinders the ability to present the DF program in the clearest manner. Students, for instance, do not intuitively understand the concept of an “X-shaped designer,” especially those who are unfamiliar with the DF program or the concept of creative digital industries. Presenting the definition of X-shaped designers using vague language and unclear metaphors muddies the waters further. The letter “X,” for instance, is not often thought of as having “points,” nor will novice students be familiar with the term “creative” used

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a noun. The problem is complicated further by the text that immediately follows the passage quoted above.

Students at the heart of the X work with faculty to develop their own uniquecreativity and solver engine. Industry is now demanding X-shaped innovators tolead the Renaissance 2.0 into the future.

This passage is rife with complicated terminology and unclear phrasing. To a student who is being exposed to the DF program for the first time, they are very unlikely to understand the following concepts:

“At the heart of the X” Solver Engine X-Shaped innovators “The Renaissance 2.0”

Granted, these terms may be commonplace to industry professionals and academics who specialize in this field; to a potential enrollee, however, such language is entirely foreign, and might well dissuade individuals from exploring the program in greater depth.

To address the issue of confusing nomenclature, OCAD University may consider:

Radical change to the language of promotional material Greater emphasis on jobs, as well as the value-added of pursuing this degree at this

institution, rather than at a competitor.

The challenges of classification and perception of quality can be addressed together. Two issues seem at play here: the first is that, generally speaking, “digital futures” tended to be thought of much more as a “digital” program than a “design” program; next, the second, related issue, is that even after respondents conceptualized DF as falling generally in the design category,20 OCAD University’s brand on “digital” or “design” is no better than York/Sheridan, Ryerson, or Mohawk’s.

Part of the solution to these issues simply requires time, and relies on the reputational development that will come as graduates achieve success in the workplace, and can thus act as brand ambassadors, demonstrating the program’s efficacy. In the short-term, OCAD University may consider changing the program’s emphasis, at least in name, so as to highlight those features of the program for which OCAD University already has a strong reputation. De-emphasizing the digital, here, may go a long way in enticing students to explore the program further. Likewise, adopting a program name that highlights OCAD University’s strengths will better position OCAD University to attract students to the program.

20 Here, we understand that DF program administrators may not themselves see the program as falling into a design category; however, when respondents were prompted on the subject, the majority ultimately tended to categorize the Digital Futures program as being predominantly design-based.

HESA 56


Certainly challenges exist to the Digital Futures program. These challenges, however, present opportunities for OCAD University to further refine the DF program, allowing it to enjoy a more vaunted status within the proud tradition of OCAD University cutting-edge program offerings.

HESA 57


APPENDIX A: OCAD UNIVERSITY ALUMNI INTERVIEW INSTRUMENT

Key Informant Interview Instrument

Note: Below is the interview instrument used for the in-depth qualitative interviews for the OCAD University Alumni interview. These key informant telephone conversations lasted roughly 30-45 minutes in length, and although they followed a predetermined and preapproved interview instrument, conversations moved into a variety of areas, as explored a number of issues with respect to OCAD University alumni, at the interviewer’s discretion.

1. Are you currently employed in any capacity (full-time, part-time, seasonal, contract, freelance)?

Response

Yes

No

2. Do you currently work in Toronto?

Response

Yes

No

3. In what sector or field do you primarily work? [Coded after – Prompted if necessary]

Response

Cultural sector (e.g. government, non-profit, community development);

Arts community (e.g. practicing artists (visual, performing & music arts), curators, venue / gallery

HESA 58


owners, arts advocacy and education);

Creative industries (e.g. firms and professional associations in film, TV, digital media, publishing, music, advertising, architecture, etc.)

Design

Digital Media

Unemployed

Other [text response to elaborate]

4. In what year did you graduate from OCAD University?

Response

2014

2013

2012

2011

2010

2009

2008

2007

2006

2005

5. From what program did you graduate at OCAD University?

Response

Advertising

Graphic Design

Illustration

Environmental Design

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Industrial Design

Material Art & Design

Criticism & Curatorial Practice

Cross-Disciplinary Art: Publication

Drawing & Painting

Integrated Media

Sculpture/Installation

6. Are you currently working in a profession that directly relates to your training at OCAD University?

Response

Yes

No

7. What Skills that you learned at OCAD University do you find most useful in your current job?

Response

Critical thinking and analysis of arguments and information

Broad knowledge and education

Listening and revising

Creative thinking and problem solving

Research skills

Clear Writing

Persuasive Speaking

Project Management Skills

Technological Skills

Artistic Technique

Financial and Business Management Skills

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Interpersonal relations and collaborative working skills

Leadership Skills

Networking and relationship-building

Teaching skills


8. What Skills that now seem relevant at your current job did you wish you had learned (but did not obtain) while at OCAD University?

Response



Clear Writing

Persuasive Speaking



Artistic Technique


Entrepreneurial Skills

Leadership Skills


Teaching skills


HESA 61


9 For a new student who is entering OCAD University in the program from which you graduated, which five (5) courses (mandatory or elective) would you recommend taking for that student to be best prepared for the job market after graduation?

9. In your opinion, what three (3) skills are the most important for art and design school graduates to have, when entering the labour market in your field?

Response




Research skills

Clear Writing

Persuasive Speaking



Artistic Technique




Leadership Skills



10. While a student, were you aware eof any career-related programs offered by OCAD University?

Response

Yes [text response to elaborate]

HESA 62


No

11. While a student, did you participate in any of OCAD University's student exhibitions?

Response


No

12. When you started looking for a job, did you seek out and use any of the career development initiatives offered by OCAD University to help you with your job search?

Response


No

13. Did you reach out to, or contact, any of your OCAD U colleagues while you were looking for a job?

Response


No

HESA 63


14. Approximately how long after graduation from OCAD University were you on the job market looking for work, before finding employment related to your field?

Response

3 months -

6 months -

1 year -

1.5 years -

2 years -

2.5 years -

3+ years

Still have not found work

HESA 64


APPENDIX B: EMPLOYER INTERVIEW INSTRUMENT – SHORT-FORM SURVEY


Note: Below is the interview instrument used for the qualitative interviews for the short-form Employer Interviews. These key informant telephone conversations lasted roughly 10-15 minutes in length, and although they followed a predetermined and preapproved interview instrument, conversations moved into a variety of areas, as explored a number of issues with respect to OCAD University alumni, at the interviewer’s discretion.

1. Do you currently work in the Greater Toronto Area?

Response

Yes

No

2. In which sector or fields does your company work?Response


Arts community (e.g. practicing artists (visual, performing & music arts), curators, venue / gallery owners, arts advocacy and education);


Design

Digital Media

Other [With text box response]

3. How familiar are you with OCAD University?Response

HESA 65


Very Familiar

Somewhat Familiar

Not Familiar

[FOLLOW IF T2 = NOT FAMILILAR] Are you familiar with the Ontario College of Art and Design? (i.e. the institution before it became an accredited university)

4. How would you describe OCAD University, and what it does? [TEXT RESPONSE]

5. Are you formally associated with OCAD U, for example as an alumni, an instructor, a donor, or have you juried awards competitions?Response

Yes

No

[TEXT ELABORATION IF “YES”] Are you formally associated with OCAD U, for example as an alumni, an instructor, a donor, or have you juried awards competitions?

6. Have you ever attended an OCAD U event, such as an open house, a graduate exhibition, or an auction?

[TEXT ELABORATION IF “YES”] [T4_2_OCADconnections] Have you ever attended an OCAD U event, such as an open house, a graduate exhibition, or an auction?

[IF “YES”] Have you ever attended an OCAD event in order to scout talent, or to possibly recruit OCAD students or graduates to your company?Response

Yes

HESA 66


No

7. Have you ever worked with OCAD University students or alumni in ANY capacity?Response

Yes

No

Not sure

[TEXT ELABORATION IF “YES”] [T4_3_OCADconnections] Have you ever worked with OCAD University students or alumni in any capacity?

8. Is there another connection we might have missed – Is there a way OCAD U as an institution has connected with its students that we haven’t considered?Response

Yes

No

[TEXT ELABORATION IF “YES”] Is there another connection we might have missed?

9. In your opinion, how well does OCAD University help create networking opportunities for artists in Toronto?Response

Very Well

Well

Adequately

Poorly

Very Poorly

Not sure

HESA 67


10. Can you give me an example or two of how they do this?

11. Do you think it should be trying to do a better job?Response

Yes

No

12. What, in your opinion, are OCAD University's most significant contributions to the arts and culture scene in Toronto?Response

Arts community (e.g. fine arts, crafts, and cultural activity)

Creative industries (e.g. publishing, design. music, fashion, film & television)

Urban landscape (e.g. architecture, public art, vibrant neighbourhood)

13. In your opinion, on a scale from not relevant to essential, how relevant is OCAD University to the following:

No relevance

Somewhat relevant

Relevant Very Relevant

Essential Total Responses

To the sector / field / industry in which you work?

To Toronto's broader cultural sector, Arts Scene, and Creative Economy?

To Toronto, as a city?

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APPENDIX C: EMPLOYER INTERVIEW INSTRUMENT – LONG-FORM SURVEY


Note: Below is the interview instrument used for the in-depth, qualitative interviews for the long-form Employer Interviews. These key informant telephone conversations lasted roughly 45-60 minutes in length, and although they followed a predetermined and preapproved interview instrument, conversations moved into a variety of areas, as explored a number of issues with respect to OCAD University alumni, at the interviewer’s discretion.

1. Is your company based in the Greater Toronto Area?

Response

Yes

No

2. What is your company's name?

3. In which of the following sectors or field does your company primarily work?

Response


Arts community (e.g. practicing artists (visual, performing & music arts), curators, venue / gallery owners, arts advocacy and education);


Design

Digital Media

HESA 69


Other [text response for elaboration]

4. How long has your company been in operation?

Response

1 year to

5 years to

10 years to

20+ years

Not Sure

5. Does your company currently employ students or recent graduates?

Response

Yes

No

Not Sure

6. Are you aware if your company employs graduates of OCAD University?

Response

Yes

No

Not sure

7. Can you identify from what specific programs you have hired OCAD students and/or graduates?

Response

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Digital Futures

Graphic Design

Illustration

Industrial Design

Material Art & Design

Criticism & Curatorial Practice

Cross-Disciplinary Art: Publication

Digital Futures

Drawing & Painting

Drawing & Painting: Digital Painting & Expanded Animation

Integrated Media

Photography

Sculpture/Installation

Other [ text response for elaboration]

Does Not know

8. In the past three years, has the number of employees at your company increased or decreased?

Response

Increased

Decreased

Stayed the same

Not sure

9. What type of employment does your Company offer?

Response

Full-time/long-term

Part-Time

Contract

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Freelance

Not sure

10. In your opinion, what type of employment will your company offer more of in the future?

Response

Full-time/long-term

Part-time

Contract

Freelance

We will not offer more employment (none of the above)

Not sure

11. Over the past three years, have you been hiring more or fewer recent graduates?

Response

More

Fewer

About the same

Have not hired anyone in past three years

Not sure

HESA 72


12. Would the same be true for graduates of art and design programs? In other words, during this time, have you hired more or fewer recent graduates of arts and design programs?

Response

More

Fewer

Same

Not sure

13. How about graduates of OCAD university, specifically? Have you hired more or fewer graduates specifically from OCAD University in the last three years than in previous years?

Response

More

Fewer

Same

Not sure

14. Have you attended an OCAD University event?

Response

Yes

No

Not sure

HESA 73


15. Have you ever attended an OCAD event in order to scout talent, or to possibly recruit OCAD students or graduates to your company?

Response

Yes

No [text response to elaborate]

Not sure [text response to elaborate]

16. When your company has employment opportunities, what methods do you use to recruit people?

Response

Job posting on website (ex. Canada Job Board; Indeed.com)

Targeted Search (ex. LinkedIn)

Word-of-mouth

Print advertisement

University Career Centres

Other

Not sure

[text elaboration] When your company has employment opportunities, what methods do you use to recruit people? (Other)

[If “University Career Centres” to 16, then]: At which institutional career centres in the GTA do you regularly post job openings?Response

OCAD University

Ryerson University

U of T

York

HESA 74


Mohawk

Sheridan

George Brown

Other

17. When your company is hiring to fill positions in arts & design, what are the most important skills for a candidate to have? [coded after]

Response





Research skills

Clear Writing

Persuasive Speaking



Artistic Technique




Leadership Skills


Teaching skills

Other [text response for elaboration]

Not sure

HESA 75


18. In terms of on the job performance, how do OCAD University graduates compare to employees from other institutions?

Response

BETTER

EQUAL

WORSE

It depends [text response for elaboration]

Not sure

19. In your opinion how well does OCAD University prepare its students for successful careers in your industry?

Response

Very well prepared

Adequately prepared

Somewhat prepared

Under prepared

Not sure

HESA 76


20. Are there any specific skills that are required now by your FIRM, that weren't required five years ago?

21. Are there any specific skills that are commonly required by other firms in your Industry, that weren't required five years ago?

22. In your opinion, how will the skills profile of your firm be different 5 years from now?

23. In your opinion, how well have OCAD U graduates done in keeping-up with the changing skills-requirements necessary to succeed in your firm's industry?

Response

Very well

Moderately well

Not Well

Not sure

24. What skills could an institutions better provide to students to prepare them for successful careers in your industry? [Coded after]

Response





Research skills

Clear Writing

Persuasive Speaking


HESA 77



Artistic Technique




Leadership Skills


Teaching skills

Other [text box for elaboration]

Not sure

None

25.When you think about the overall business environment for your FIRM, which statement best describes your personal outlook for the next five years?

Response

Very positive

Positive

Neutral

Negative

Very Negative

N/A

Not sure

26.Now thinking about the industry overall; when you think about the overall business environment for your industry, which statement best describes your personal outlook for the next five years?

Response

HESA 78


Very positive

Positive

Neutral

Negative

Very Negative

N/A

Not sure

27. How familiar are you with OCAD University, in general?

Not familiar Somewhat Familiar

Familliar Total Responses

28. How would you describe OCAD University, and what it does?

29. Are you formally associated with OCAD U, for example as an alumni, instructor, donor, or jury member for awards competitions?

Response

Yes

No

[Text response if “Yes” to 29] Are you formally associated with OCAD U, for example as an alumni, instructor, donor, or jury member for awards competitions?

30. Have you, less formally, attended OCAD U events, such as their open house, graduate exhibition, and auction?

Response

Yes [ text elaboration]

No

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31. Have you ever worked with OCAD U students or alumni in any capacity?

Response

Yes [ text response for elaboration]

No

32. Are you connected to OCAD U in any other way?

Response

Yes [text response for elaboration]

No

33. In your opinion, does OCAD University create opportunities in Toronto's Arts scene?

Response

Yes

No

[if no, then] Do you think it should?Response

Yes [ text response for elaboration]

No

Not sure

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34. In what areas or sectors does OCAD University contribute to Toronto's arts and cultural sectors? [Coded after]

Response

Arts community (e.g. fine arts, crafts, and cultural activity)

Creative industries (e.g. publishing, music, fashion, film & television)

Urban landscape (e.g. architecture, public art, vibrant neighbourhood)

35.What are some different ways that OCAD University contributes to Toronto's arts and cultural sectors?

36. In your opinion how relevant is OCAD U to the following sectors:

No relevance

Somewhat relevant

Relevant Very Relevant

Essential Total Responses

To the sector / field / industry in which you work?

To Toronto's Arts and Cultural Scene?

To Toronto, as a city?

37. In your opinion, does OCAD University have any peer institutions in TORONTO?

Response


No

HESA 81


Not sure

38. In your opinion, does OCAD University have any peer institutions in CANADA?

Response


No

Not sure

39. How does OCAD University compare in quality to these peers?

40. On a scale of 1-to-5 (1 being "very prominent", and 5 being "not at all prominent): in your perception, how prominent are OCAD alumni, faculty, and students in the following areas:

Very prominent

Prominent Moderately Prominent

Of little prominence

Not at all prominent

Not Sure

Total Responses

At arts events like the One of a Kind Show and the Toronto Outdoor Art Show

As representatives of the arts (on councils & in professional associations)

In galleries, as curators, artists,

HESA 82


owners

At competitions, as jurors, or competitors

As instructors in arts education

41. How would you describe OCAD University's influence on physical urban spaces in Toronto?

42. [REPEAT QUESTION TO VERIFY EARLIER RESPONSE] In your opinion, how WELL does OCAD University create networking opportunities for people in Toronto's creative sector?

Very Well

Well Adequately Poorly Very Poorly

Not Sure Total Responses

43. In your perception, how successful is OCAD University in the following areas:

Very successful

Somewhat successful

Moderately successful

Less than successful

Unsuccessful

Not sure

Total Responses

The employability of its graduates

The networking ability of graduates

Establishing prominence in the the eyes of

HESA 83


companies and associations

44. Is there anything else that you think would be useful for OCAD University to know that might help it continue to improve as an institution?

HESA 84


APPENDIX D: LIST OF BUSINESS FOR EMPLOYER INTERVIEWSNote: OCAD University initially provided the names of roughly 200 businesses in the Greater Toronto Area related to arts and design industries. HESA staff then conducted internet research to compile contact information associated with each of those businesses, and to further populate the list. This process involved identifying the councils, boards, and associations to which the original 200 businesses belonged, in order to add related or associated businesses. In addition, a “snowball question” was included at the conclusion of interviews, which afforded the opportunity for respondents to identify other businesses that might be willing to participate in the study. Ultimately, a list of more than 1000 businesses was compiled. In some cases, business included several high-ranking contact names (such as a President/Owner, Manager, Director, etc.). As a result, the more than 1000 businesses on our list represented more than 1,500 contacts. This list became the basis for interview recruitment. Although privacy legislation inhibits our indicating the specific businesses that chose to participate in the study, the overall list, in its entirety, is produced below.

Arts and Design Businesses – Master List

+tongtong185 AUGUSTA1point026 MACKENZIE CRESCENT3.7 Designs3AM Design3DPhacktory45 VIDEO PRODUCTIONS48th Highlanders Museum99 GALLERYA Nerd’s WorldA Space galleryAareas InteractiveAboriginal Curatorial CollectiveAccess CopywrightACME ART & DESIGNACTIVATE MEDIAAdam StockholmADVANCED VERIFICATION TECHNOLOGIES, INC.ADVANTAGE STAGINGAdventure Film PRoductions

AegisAesthetec StudioAftermodern.labAga Khan MuseumAKASHA ART PROJECTSAkimboAlberta Foundation for the ArtsAlbum Studio RentalsAlexandra ShimoALISON MILNE GALLERYALISON SMITH GALLERYAll Nations MediaALL STARS MUSIC SCHOOLALLA BREVE ACADEMY OF MUSIC AND ARTSALLDECOR HOME STAGINGAllyn CreativeAmanda IpAMAZING PRINT CORP.AMBIENCE INTERIORSAMC THEATRESandCulture

HESA 85


Andre IvanchukANDREW RICHARD DESIGNSANGELL GALLERYAngelwalk TheatreAnimation Portfolio WorkshopAnna BuechinAnomalyAnomalyAOE Arts CouncilApparatusApplewood (Ontario)Applied KineticsArc & Co. Design Collectivearchitects AllianceArchitecture+Archives of OntarioARE GALLERYARPART AND SOUL DANCE COMPANYArt Canada InstituteArt Gallery of HamiltonArt Gallery of OntarioArt Gallery of York UniversityArt HiveArt MetropoleART SQUARE GALLERYArt Street Design StudioArt TorontoArtbarn SchoolARTBARRAGEArtciteARTEKARTGATEArtInfo – BlogArtist Run Centres & Collectives of Ontario ARCCOArtista Design & Print Inc.Arts EtobicokeArts for Children and YouthArts Richmond HillArts Society KingArtsBuild Ontario

ArtscapeArtscape Triangle GalleryartsVestArtworks OakvilleARTYKAAS IS PROJECT SPACEAssociated Designers of CanadaAssociation of Canadian Industrial DesignersAssociation of Chartered Industrial Designers of OntAssociation of Professional Landscape DesignersAssociation of Registered Graphic DesigersASTOUND GroupATELIER RZLBDAuthentiCity (Greg Baker, consultant)AUTO TRIM DESIGN INC.AutodeskAV DesignAvalon Graphic DesignB.sideB+HBAITSHOPBalanceBALLARE CENTRE FOR THE PERFORMING ARTSBally ExhibitBanff CentreBANK ON ART AT 952 QUEEN ST. WESTBartlett & AssociatesBata Shoe MuseumBATHURST MURAL PROJECTBAU-XI GALLERYBAU-XI PHOTOBaycrest Centre for Geriatric CareBB BLANCBBDOBBM CanadaBeaux-Arts BramptonBEAVER HALL GALLERY

HESA 86


HESA 87


BEIT ZATOUNBen Chaisson - FreelanceBENDING SPOONS GALLERY AT VESUVIOBensimon ByrneBermuda National GalleryBEVERLY REDLICK DESIGNSBill BuxtonBink ArchitectureBlack Creek Pioneer VillageBlast RadiusBlok DesignBloomberg Businessweek MagazineBLUE DAIZY VIDEO PRODUCTIONSBluenotesBmDodo Strategic DesignBOA StudiosBohlin Cywinski JacksonBrampton Arts CouncilBRAYHAM CONTEMPORARY ARTBright InnovationBROCKTON COLLECTIVEBrolly MediaBrothers DresslerBrownlie DesignBruce MauBruce Mau DesignBurdifilekBurn CreativeBurt HillBusiness for the ArtsC2PCAMHCAMPBELL HOUSE MUSEUMCanada Council for the ArtsCanadian Air and Space MuseumCanadian Art FoundationCanadian Artists' Representation Copyright CollectiveCanadian Conference of the ArtsCANADIAN HERITAGE ART COMPANYCanadian Motorsport Heritage MuseumCANADIAN SCHOOL OF PERFORMING

ARTSCanadian Sculpture CentreCanadian Society for Painters in Water ColourCanadore CollegeCannon DesignCANVAS GALLERYCAPTUS PRESS INC.Cardboard HelicopterCarden Cunietti LtdCARFAC OntarioCasa LomaCast ConnexCatalyst Workshop Inc.CBCCBC MuseumCedar Ridge Creative CentreCelestica IncCÉLINE-ALLARD GALLERYCELLAR GRAPHICS INC.Centennial CollegeCentre for Activity and AgingCentre for Cultural Management, University of WaterlooCentre3 for Print & media ArtsCertified Ontario College of TeachersCHAIR COVERS PLUSChaseDesignChris Lorway, Soundstreams CanadaCHUM FM RadioCIAO BELLA DANCE STUDIOCinderblocCINESPACE FILM STUDIOSCity of Toronto - Arts ServicesCity of Toronto - Cultural AffairsCity of Toronto - Economic Development & CultureCity of Toronto - Museum ServicesCity Staff (TO, GTA)Clear SpaceClint RoenischCLUB PARADISE 2 DANCE STUDIO

HESA 88


CObP DesignColborne LodgeCOLOSSUS TORONTOColourgenics: Fine Art ImagingCOMMUNICATION GALLERYConcordia UniversityConference Board of CanadaCONTACT GALLERYContact Photography FestivalContemporary Art Forum of KitchenerContext CreativeCONVENIENCE GALLERYConvergence TheatreCooler SolutionsCooper ColeCorkin GalleryCORRIDOR GALLERY , CENTENNIAL COLLEGECortex DesignCorus EntertainmentCossetteCOVERS COURTURE & DECORCP+BCrash MediaCREAM TANGERINE GALLERYCreatacorCREATIVE BLUEPRINT GALLERYCreative Economy, City of VaughanCREATIVE FOLIO LTD.Creativity OvenCrescent GroupCTV NewsCultural Communities and Prosperity FundCultural Human Resources CouncilCultural ServicesCundariCuppa CoffeeCuyahoga County Planning CommissionCygnus GroupD.M.S VIDEODaedalus

DANCE STREAMDANCE STUDIODANCE SURGEDANCE WITH MARADaniel FariaDare Arts FoundationDashingDavid Abel, Art of Time EnsembleDavid Berman CommunicationsDavid Johns PortraitsDAVID KAYE GALLERYDAVIDSON STUDIODAWES CROSSINGDDBDean DavidsonDECORENZADefind Media IncDentsuBosDepartment of Canadian HeritageDesign 1stDesign and Wayfinding Consultants (Cygnus Group)Design CabinDesign DirectiveDesign ExchangeDESIGN HOPEDesign Industry Advisory CommitteeDESIGNING DIGITAL MEDIA FOR THE INTERNET OF THINGSDesignloreDesignperimeterDESIGNWORXSDiaz ContemporaryDigifabshopDivaGirlDJA Designdocumentary film makerDON´T TELL MAMA GALLERYDonerDoris McCarthy GalleryDOUBLE DOUBLE LANDDoug & Serge

HESA 89


DRABINSKY GALLERY Draft FCB (design firm)

HESA 90


DraftFCBDragan DjordjevicDRC VIDEO PRODUCTIONSDubbeldam Architecture + DesignDufferin Arts CouncilDW Product DevelopmentEastern Edge – Artist Run Centre (NS)EDEN ART GALLERYEdit UndoEDWARD DAY GALLERYeHealth OntarioEinhorn DesignelementByIdeaElevated WorksElora Centre for the ArtsEmil Design StudioENERGY DANCE ARTSENGINE GALLERYEnoch Turner SchoolhouseEntroENZO MERCURI DESIGNSEPIC CONDOMINIUM DEVELOPMENT SITEERIC ARTHUR GALLERYErin Stump GalleryERIN STUMP PROJECTSEtobicoke Civic Centre GalleryEtsyEureka!EVOLUTION DANCE STUDIOEvolve Design SolutionsEWI WorldwideEXCALIBUR INTERIOR DESIGNExhibit SolutionsEYEONYOU VIDEO PRODUCTIONS LTD.EYP Architecture & EngineeringFactoreFactory TheatreFAG (FEMINIST ART GALLERY)FEHELEY FINE ARTSFigDigFigforty

figure3Film Toronto (website)FINE & DANDYFirebrand TribeFIRST CANADIAN PLACE GALLERYFit AssociatesFLEISHMAN GALLERYFloggemFLORA DI MENNA DESIGNSFlowdesignFord Entertainment & ProductionsFord Motor CoForest City GalleryFORMFort William Historical ParkFort York National Historic SiteFOURTH EYE GALLERYFRAN HILL GALLERYFreelance DesignerFresh Art and DesignFreshly DicedG GALLERYGabriel MackinnonGALERIE CHRISTINGALLERY 129 OSSINGTONGallery 1313GALLERY 345Gallery 36Gallery 44Gallery ArcturusGALLERY CCGALLERY F - GEORGE BROWN COLLEGE, VISUAL ARTSGallery OneGallery PlayersGallery44GALLERYWESTGARAGE LIVINGGardiner MuseumGareth Crew - FreelanceGENDAI GALLERYGENDAI WORKSTATION

HESA 91


Genesis Model MakersGeorge Brown CollegeGeorgia Scherman ProjectsGeorgina Arts Centre and GalleryGERRARD ART SPACEGhafariGibson HouseGibson Product DesignGiGi ImportingGIOTANGiraffeGlendon GalleryGlobalGo MediaGOETHE-INSTITUTGOODFELLAS GALLERYGoodThreeGourmet SettingsGovernment of OntarioGow Hastings ArchitectsGRAVEN FEATHER STUDIO & GALLERYGRC ArchitectsGreenberg ConsultantsGreenmelonGrey CanadaGrip LimitedHal Jackman FoundationHamilton Arts CouncilHarbour Front CentreHarbourfront CentreHatch StudiosHeffron MediaHeidi Earnshaw DesignHeist Media DesignHelen Marioncu IllustrationHereticHermann & AudreyHEW POP-UP GALLERYHistoric Zion SchoolhouseHockey Hall of FameHoldrege DesignHolt Renfrew

HESA 92


HESA 93


Honey DesignHookHOTEL OCHO GALLERYHudson's Bay of CanadaHUGHES DECORRHumanscopeHumber CollegeHuronia Historical ParksIan Garrett - FreelanceIan ZeiglerIconixid29IDC CanadaIdea CoutureIDWSIIDEX CanadaIKEA North AmericaIlan Sandler Studio IncImages FestialImagiNativeIMAGINE ART GALLERY & SCHOOLIMM livingImpact MachineImpact MobileImpulse StudiosIncite DesignIndigoIngram GalleryInscapeInsomniac PressINSPIRAMAXInterAccess Electronic Media Arts CentreINTERFUSION INC.Interior Design Show (IDS)Interior Designers of CanadaInterior Designers of Canada (IDC)INTERIORS BY LYNNEINTERIORS BY SUZARTInterpix DesignIntu DesignIron Design

ISIS CANADAIzzard Fine ArtJacknifeJacknife designJACOBS LOUNGE VISUAL ARTS SPACE @ THE MILES NADAL JCCJam3 Digital DesignsJapanese Canadian Cultural CentreJar CreativeJAZZ BE NIMBLEJBS GRAPHIC COMMUNICATIONS INC.Jessica Bradley Art + ProjectsJESSICA BRADLEY GALLERYJGAJoe ReinselJohn BairdJohn St.JOSEPH CARRIER GALLERYJosh OwenJovan RocanovJPN StudiosJPRA ArchitectsJULIE M. GALLERYJumpJunction Design/UX Design StudioJuniper ParkJustina Barnickle Gallery, University of TorontoJustina M. Barnicke GalleryJWTKandel & AssociatesKATHARINE MULHERIN CONTEMPORARY ART PROJECTSKATZMAN CONTEMPORARY GALLERYKEK AssociatesKenny Chong GalleriesKeyframe Digital ProductionsKeynote Media GroupKIEVER CONGREGATIONKinder DesignKinsman Robinson GalleriesKite & Canary

HESA 94


KleurvisionKLINE HOUSEKODIAK GALLERYKoffler Centre of the ArtsKolectivKonrad GroupKPMB ArchitectsKUMF GALLERYLa Mama Experimental TheatreLA PARETE GALLERYLaDriereLake Effect DesignLakeshore ArtsL'AMBIANCE DANCE CENTRELaQuatra Bonci AssociatesLarry Wayne Richards GalleryLateral OfficeLATIN AMERICAN ARTS CENTRE PILOT PROJECTLatino Canadian Cultural AssociationLATITUDE 44 GALLERYLaunch by DesignLAUNCH PROJECTSLAUNCH! Brand MarketingLaura WatsonLausberg ContemporaryLe LaboLE LABORATOIRE D´ARTLENNOX CONTEMPORARYLeo BurnettLeo Kamenlg2Liaison of Independent Filmmakers of Toronto (LIFT)Lift - Liaison of Independent Filmmakers of TorontoLimelightLineBox StudioLittle Miss BlissLO SPECCHIOLoch GalleryLOMOGRAPHY GALLERY STORE

LONSDALE GALLERYLOOP GALLERYLoopmediaLORRI'S DANCE STUDIOLouis & Partners DesignLowe RocheLoyalist CollegeLoysen + Kreuthmeier ArchitectsLUCSCULPTURE GALLERYLuminant DesignLuminatoLUX DesignMabelle ArtsMacadamianMackenzie HouseMADMACDESIGN INC.MADUXXMako InventMALUCA StudiosMamalian Diving ReflexMango Advertising and DesignMANIFESTO COMMUNITY PROJECTSMantra Partners IncMAPLE ACADEMY OF DANCE INC.MAPLE DRAPERY & CARPETMark Neil Balson Freelance Graphic DesigerMark Sommerfeld: freelance photographerMarket GalleryMarkham Arts CouncilMarkham MuseumMarrello ArtMarshall RobinsonMatla GroupMAYA DesignMCCAUL ART GALLERYMcClelland & StewartMCMICHAEL CANADIAN ART COLLECTIONME TO WE StyleMEDIALINX PRINT & GRAPHIC

HESA 95


SOLUTIONS INC Meld Media

HESA 96


MEMORY VIDEO PRODUCTIONSMenu TorontoMercer UnionMeredith Potter, Meredith Potter Arts ManagementMERITVIEW DECORATING INC.META GALLERYMetcalf FoundationMetro Toronto Convention CentreMettle Creative ServicesMEXLEY MARKETINGMILK GLASS GALLERYMinistry of Health and Long Term CareMira Godard GalleryMiriam Shiell Fine ArtMississauga Arts CouncilMitchell Marcus, Acting Up Stage Company Inc.MizrahiMKG127MODULAR DESIGN SYSTEMS INC.Moffatt AssociatesMÒmaladeMONARCH TAVERNMonnet DesignMonte ClarkMontgomery Sisam ArchitectsMontgomery's InnMoreFramesMorris and Sally Justein Heritage MuseumMoss & LamMPP Marketing GroupMunge LeungMunicipal Cultural Planning IncMural RoutesMusagetes FoundationMUSAIC SCHOOL OF MUSICMuseum of Canadian Contemporary ArtMuseum of Contemporary Canadian ArtMuseum of Inuit ArtMUSEUM OF NEW PAINTING

MyPlanet DigitalMZTV Museum of TelevisionNARWHALNavillus GalleryNDGRAPHICSNeilsoft LimitedNeilson Park Creative CentreNeubacher Shor ContemporaryNEUBERGER HOLOCAUST EDUCATION CENTRENEW AGE PRODUCTS INC.New Design GroupNewmarket Arts Council TaskforceNexten TechNicholas MetivierNo. 9 Contemporary ArtNORMAN FELIX ART GALLERY & MANAGEMENTNorth York ArtsNottingham SpirkNOVA SOLUTIONSNubrandO´CONNOR GALLERYOakville Arts CouncilOCAD UOCAD UNIVERSITY GRADUATE GALLERYOdon Wagner GalleryOLA Interactive AgencyOlga Korper GalleryOLYMPIC STARS DANCE ACADEMYOMNI RadioOn Land Design IncOne of a kind showOneMethodONESPACE UNLIMITEDONLY ONE GALLERYOntario Arts CouncilOntario Arts Council (Duplicate)Ontario Arts Council (relevent staff)Ontario Association of ArchitectsOntario Association of Art GalleriesOntario College of Art & Design

HESA 97


GalleriesONTARIO CONSERVATORY OF MUSICOntario Cultural Attractions FundOntario Media Development CorpOntario Museum AssociationOntario Science CentreONTARIO SCIENCE CENTRE´S !DEA GALLERYOpen Studio GalleryOptic LingoOral History MuseumORCHARD RIDGE HOMES DECOR CENTREORGANIZATION/COMPANY NAMEORGANIZED INTERIORSOrillia & District Arts CouncilOsborne Collection of Early Children's BooksOutcrop CommunicationsOutside the MarchOveOverit MediaOZ STUDIO & GALLERYPAMENAR CAFE AND GALLERYPAPERMILL GALLERY, TODMORDEN MILLSParachute DesignParallel DesignPARI NADIMI GALLERYParliament Interpretive CentrePAROPartners + NapierPartners Film (production company)PARTS GALLERYPAUL PETRO CONTEMPORARY ARTPEMBERTON DECOR CENTERPENTIMENTO FINE ART GALLERYPERFORMING DANCE ARTSPetroff GalleryPIERRE-FRANÇOIS OUELLETTE ART CONTEMPORAINPIKTO

HESA 98


HESA 99


Pilot PMRPIP AnimationPittsburgh Public SchoolsPivot Design GroupPlastic MobilePlaygroundPM GALLERYPod 10Polar MobilePOLKADOT ART STUDIOPower PlantPPC DesignPRAXIS GALLERYPROCESS D&C SOLUTIONS BY DESIGNProcess4Product TreePronk GraphicsPROOF STUDIO GALLERYPROPELLER CENTRE FOR THE VISUAL ARTSProtoSourcePush technologiesq30Q4 ArchitectsQuadrangle ArchitectsQueen's Own Rifles of Canada Regimental MuseumQuenchQuick Serve Restaurant FranchiseR. MCINNIS DESIGN ASSOCIATESRaceseng StudioRAINBOW CINEMASRamRamsay PlanningReactiv PostReactor Arts & DesignRebrand Advertising + DesignRed UrbanRed Urban CanadaREDEYE STUDIO GALLERYRedpath Sugar MuseumRefluxus

Reginald Bronskill - FreelanceRegistered Graphic Designers of CanadaRenee Brode- FreelanceRES Exhibit ServicesRethinkReuben & Helene Dennis MuseumRevolver FilmsRGDRhoddy DesignRichmond Hill Arts CouncilRICHVIEW LIBRARY GALLERYRIM/ BlackberryRiverdale FarmRivetRk Macdonald HouseRK Studios LimitedROADSIDE ATTRACTIONSRob Southcott Studio WorksRobert Birch GalleryROBERT KANANAJ GALLERYROCK THIS WAY! SCHOOL OF ROCKRogers CommunicationsROM CONTEMPORARY CULTUREROSEDALE DINERRoss + DoellRotman DesignWorksROXY'S DANCERoyal Canadian Military Institute MuseumRoyal Ontario MuseumRoyal Regiment of Canada MuseumRupal Shah, NightswimmingRyan MassiahRYERSON IMAGE CENTRERyerson Medical CentreRyerson UniversitySaatchi & SaatchiSage MediaSaint Mark's Coptic MuseumSALAM TORONTO WEEKLYSali TabacchiSAMUEL J. ZACKS ART GALLERY

HESA 100


Sandbox Inc./La Boite a FilmSandox Films Inc.Sapo Creative StudiosSarah Armstrong - FreelanceSCARBOROUGH ARTSScarborough MuseumScot LaughtonScott KlinkerScrap Metal GallerySEARCHENGINE ADVERTISING AND DESIGNSeneca Collegeset and props designSewell EvansShape ProductsSheridan CollegeShikatani LacroixSHREEJI GRAPHICS INC.Sid LeeSilent GiantsSILKOGRAPHICS INC.SIM DigitalSirius CompanySistema TorontoSMART MEDIASmartshapeSmithGroupJJRSO HIP IT HURTSSociety of Graphic Designers of CanadaSodi DesignsSooy+Co.SoSweet! CreativeSouth Simcoe Arts CouncilSpadina HouseSPARKSpark InnovationsSPENCE GALLERYSPLASH GRAPHICS INC.SPOTLIGHT VIDEOSpring Line DesignSt. John Design GroupStarbucks

STARLITE GRAPHICS & SIGNSSTARS DECORATION LTD.Stephen Bulger GalleryStephen CrowhurstSteve ZelleStrange IdeasStrano and PettigrewStroudfootStudio for Spatial PracticeStudio GalleryStudio GraphiqueStudio Techne ArchitectsStudioVBSubtle TechnologiesSuissa ComputersSundberg-FerarSUNNYSIDE BEACH JURIED ART SHOW OFFICESUNSHINE DECORATIONSUSAN HOBBSSustainable.TOSwave StudiosSweeny Sterling Finlayson &Co ArchitectsSYNDAKIT MEDIATAMASHAKHAMEH DRAMA SCHOOLTaras Shevchenko MuseumTargetTarragon TheatreTAXITAXI 2TBWA Toronto26TD Canada TrustTDSBTectonic DesignTeknionTEODORAART GALLERYTextile MuseumTextile Museum of CanadaTHE ARTS & LETTERS CLUB OF TORONTOThe Arts Collective Roundtable of Elliot Lake

HESA 101


THE BEVERLY OWENS PROJECT The Bytown Group

HESA 102


The Center for Curatorial Studies and ArtThe Contemporary Zoological ConservatoryThe Creative GroupTHE DANCE ZONEThe Design EdgeThe Directive CollectiveThe FederalThe Globe and MailThe GrangeThe HiveTHE IMAGE COMMISSIONThe Japan Foundation TorontoTHE LATIN AMERICAN ART CENTRE COLLECTIVEThe Metcalfe GroupThe Music GalleryThe Ontario Crafts CouncilThe Power PlantTHE RIVERDALE HUB COMMUNITY ART GALLERYThe Studio UpstairsThe Toronto StarTHE VINTA GALLERYThe White RoomTHE WHITEHOUSE STUDIO PROJECTTHE WOMEN´S ART ASSOCIATION OF CANADATHE WOODBRIDGE SCHOOL OF DANCEThomas Fisher Rare Book LibraryThoughtFormThree Cedars EnterprisesTI AMO DECORATING SERVICESTMX EquicomTodmorden Mills Heritage Museum and Arts CentreTom RudmanTOMORROW GALLERYTony WangTop Drawer CreativeToronto Alliance for the Performing Arts

Toronto Arts CouncilTORONTO BALLROOM DANCE STUDIOTORONTO CAR WRAP.COMToronto Centre for the ArtsToronto Design OffsiteToronto Dominion Gallery of Inuit ArtToronto ETSY teamToronto Free GalleryToronto Outdoor Art ExhibitionToronto Police Museum and Discovery CentreToronto Railway MuseumToronto Reference LibraryToronto RehabToronto Review of BooksToronto Scottish Regiment MuseumToronto Sculpture GardenToronto Society of ArchitectsToronto's First Post OfficeTown of Richmond HillTraitTrapezeTRASH PALACETRG StudiosTRIAS GALLERYTsunami GlassworksTypeworkTypotherapy+DesignUken GamesUkrainian Museum of Canada Ontario BranchUmbraUNIQUE DECORATIVE DESIGNSUniversity of ManitobaUniversity of Oxford (Oxford College of Canada)University of TorontoUniversity of Toronto Art CentreUniversity of Toronto at ScarboroughUofT MississaugaURBAN ARTSURBAN GALLERY

HESA 103


urbanproductURBANSPACE GALLERYUTSC Arts ManagementVAUGHAN ACADEMY OF MUSIC & ARTSVERSO GALLERYVIBEVICTORIA BALLET ACADEMYVIDEOFAGVISUAL EDUCATION CENTRE LIMITEDViva & CoVoconVSVSVSW designLabWalt Disney Motion Pictures CanadaWaterwood Theatre ProjectsWeb DepictionWELLENWESTON MUSIC SCHOOLWFG Securities of CanadaWhippersnapper GalleryWhiteSpaceWilliam F. White InternationalWilliams Design StudioWilliams Mill Visual Arts CentreWilliamsCraigWingspan DesignWojo DesignWomen’s College HospitalWOODBRIDGE ART SCHOOL AND GALLERYWords In MotionWork In CultureWorld Green Building CouncilWredXenophile MediaXPACE Cultural CentreY&RYabu PushelbergYAZI SCHOOL OF VISUAL ARTSYellow Car DesignYork MuseumYork Region Arts Council

HESA 104


HESA 105


YORK REGION MEDIA GROUPYork UniversityYoung Centre for the Performing ArtsYYZ Artists' OutletZebra StudiosZeidler Partnership ArchitectsZerofractal StudioZINKZulu Alpha KiloGallery OneArctic Bear.Art Core.Art Mine.Beckett Fine Art Ltd.City Gallery.Cygnet Gallery.Drabinsky & Friedland Galleries.Elizabeth Legge Prints.Feheley Fine Arts Inc.Gallery Gevik.Hittite Gallery.Hollander York Gallery.Hy-Art Gallery.Kinsman Robinson Gallery.Miriam Shiell Fine Art.Nancy Poole's Studio.Pao & Moltko Ltd.Prestige Auto Art & Gallery.Sable-Castelli Gallery.Sports Mint Inc. Yorkville.Stuart Jackson Gallery.Teodora Art Gallery.The Guild Shop.Yorkville Fine Frame.A SpaceAlbert White GalleryAlexandre Fine Antique PrintsAngell GalleryArchive Inc. Gallery and Art LibraryArtia Russian Fine Art IncArea GalleryAnnex Art Centre

Art MetropoleBau-Xi GalleryBus GalleryCold City GalleryDavid Mirvish GalleryDeLeon White GalleryEast Queen GalleryEdward Day GalleryGallerie Celine AllardFaktorie GalleryGallery 133Gallery 401Gallery 44 - Centre for Contemporary PhotographyGallery Moos Ltd.Gallery TPWGlass Art Gallery Inc.Igor Mojzes Studio GalleryInterAccessJames Allen Fine ArtJane Corkin GalleryKatrina's Art School & GalleryLeo Kamen GalleryMercer UnionMoore Gallery Ltd.Newman GalleryOlga Korper GalleryOpen StudioPari Nadimi GalleryPaul Petro Contemporary ArtPrime GalleryPropeller GalleryRed Head GalleryRyerson GalleryS.O.F. Art HouseSculptor's Society of CanadaSee GalleryShow GallerySigns of Significance IncSimcoe GalleryStephen Bulger GalleryTableau Vivant Gallery

HESA 106


Tenth Muse StudioThe Arts AssociatesThe Network GalleryThe Glass Art Gallery IncThe Red SalonToronto Image WorksTrias Art Gallery

Visual Arts Ontario (VAO)Wedge GalleryWomen's Art Resource Centre (WARC)Wynick/Tuck GalleryYdessa Hendeles Art FoundationYYZ Artists' Outlet

HESA 107


APPENDIX E: GEOGRAPHIC AREA COVERED BY ‘M’ AND ‘L’ AREA CODESObtained from: Canada Post

HESA 108


APPENDIX F: DIGITAL FUTURES – TARGET MARKET PROBE INTERVIEW INSTRUMENT


Note: Below is the interview instrument used for the in-depth qualitative interviews for the Digital Futures – Target Market Probe. These key informant telephone conversations lasted roughly 30-45 minutes in length, and although they followed a predetermined and preapproved interview instrument, conversations moved into a variety of areas, as interviewer (HESA Research Associate, Mark Tagliaferri) explored a number of issues with respect to OCAD University and Digital Futures program, at his discretion.

[T1_Age] What is your age?Response

Younger than 18

18

19

20

Older than 20

Prefer not to say

[T2_ApplicationPlan] Are you planning to enrol in a university or college program within the next two years?Response

Yes, I plan to enrol in a new program within the next two years

I am currently enrolled in a university or college program

I will be applying to a graduate studies program within the next two years

I do not plan to apply to a university or college program within the next two years

HESA 109


[T3_DecisionFactor] What is the MOST important factor to you when thinking about where you will attend university or college?Response

Cost

Location (close to home)

Job opportunities after graduation

Programs offered

Academic rigour

[T4_OtherFactors] What other factors are important to you when considering where to attend university or college? (List up to 5)

[T5_WhyAttend] Why do you want to attend a university or college? [Coded after]Response

To gain skills and/or knowledge

To find job post-graduation

Parental Expectation

Make friends

Other

[T6_InstitutionPreference] Do you have any idea what institution you would like to atttend?Response

Yes

No

HESA 110


[T7_institutionPreferenceTEXT]

[T8_ProgramChoice] What program would you like to enrol in?

[T9_CourseDesire] What course subjects would you be interested in studying at university or college?

[T10_SkillsDesured] What skills do you most hope to acquire while at university or college? [Coded after]Response




Clear Writing

Persuasive Speaking


Artistic Technique





Other

HESA 111


[T11_AcceptanceFeeling] How do you think attending your ideal university or college would make you feel?

[T12_RelativeImportance] I'm going to give you a series of questions, each with two options, please tell me which of the two options is more important to you when considering which university or college to attend.

Academic Rigour

Employment Total Responses

[T12_2] Employment Class size Total Responses

[T12_3] Community Academics Total Responses

[T13_OCADKnowledge] Have you ever heard of OCAD University?Response

Yes

No

[T14_OCADKnowledge2] Have you ever heard of the Ontario College of Art and Design?Response

Yes

No

HESA 112


[T15_FriendsOpinions] What do your friends say about OCAD University?

[T16_ParentalOpinions] What about your parents? What do your parents say about OCAD University?

[T17_WordAssociation] When you think of OCAD University, what is the first word that comes to mind?

[T18_StudentDescription] In your opinion, describe the type of student who would attend OCAD University.

[T19_OCADStrength] How would you describe OCAD University's greatest strength?

[T20_OCADWeakness] How would you describe OCAD University's greatest weakness?

[T21_RelativeOCADAttributes] I'm going to ask you a series of questions, each with two options, I want you to tell me which option better describes OCAD University.

Conservative Provicative Total Responses

[T21_2] Traditional Modern Total Responses

[T21_3] Collaborative Competitive Total Responses

HESA 113


[T21_4] Individualistic Collectivist Total Responses

[T21_5] Structured Flexible Total Responses

[T21_6] Specialized Diverse Total Responses

[T22_OCADAtttendance] Have you ever visited the OCAD University campus, spoken with an OCAD U representative, or attended a presentation hosted by OCAD University?Response

Yes

No

[T23_OCADProgramOffering] As far as you know, does OCAD University offer a program in the area you hope to study?Response

Yes

No

Not sure

HESA 114


[T25_DigitalIndustry] Are you familiar with what is meant by the term "creative digital industry?"Response

Yes

No

[T26_CDIoptions] If you were going to enrol in a program that centred on the creative digital industries, what universities or colleges would you likely consider?

[T27_DFKnowledge] As far as you know, does OCAD University offer any programs the focus on the creative digital industries?Response

Yes, it does

No, it does not

Not sure

[T28_DFWordAssociation] When you hear the phrase "Digital Futures," what is the first word that comes to mind?

[T29_DFProgramawareness] Have you ever heard of the Digital Futures Program?Response

Yes

No

HESA 115


[T30_PossibleDFenrolment] Would you consider enrolling in this Digital Futures ProgramResponse

Yes

No

Not Sure

[T31_AdditionalDFinformation] What additional information would you need or want to be able to make a decision on enrolling in this program?

[T32_DFStudentType] In your opinion, describe the type of student who would be interested in the Digital Futures program.

[T33_DFEmploymentProspects] In your opinion, what do you think are the employment prospects for someone who graduates from this kind of program?Response

High

Above average

Average

Below average

Low

HESA 116

Documents

higheredstrategy.comhigheredstrategy.com/.../2014/...and-Market-Research-DRAFT-Aug1… · Web viewReport on Institutional Impact and Market Research. Report on Institutional Impact