As colleges roll out a wave of new programs to prepare students for an AI-driven workforce, a new partnership between New York University and the State University of New York is trying to answer an increasingly urgent question: Which of these efforts actually work?
This month, NYU and SUNY launched the Higher Education Design Lab, a joint effort to evaluate which higher education programs are most effective at preparing students for a workforce reshaped by AI and other technological and cultural changes.
The lab will study new and established initiatives on NYU’s and SUNY’s own campuses, starting with programs that teach civic engagement, career readiness, first-year programming and innovation to understand their real impact on student learning.
“We’re bringing together two really significant and very diverse institutions, and it’s a big-scale operation, so we’ll be able to look at a lot of things across a lot of different environments,” said Mindy Tarlow, senior fellow and professor at NYU’s Marron Institute of Urban Management, where the lab will initially be housed.
The partnership appears timely; Inside Higher Ed’s latest Student Voice survey of more than 5,000 two- and four-year undergraduates found that about 40 percent of respondents think professors could better connect classroom lessons to issues outside class or to students’ career interests.
A separate Student Voice survey of more than 1,000 two- and four-year undergraduates found that nearly 50 percent of students want their colleges to offer training on how to use AI tools ethically in their careers. By contrast, only 16 percent said preparing them for a future shaped by generative AI should be left to individual professors or departments, and just 5 percent said colleges do not need to take any action at all—underscoring the demand for a coordinated, institutionwide response.
“This is a research partnership,” said Elise Cappella, vice provost for universitywide initiatives at NYU. “This lab is not about creating a lot of new things. It’s about studying what we already have and making sure we’re reaching the students we need to reach.”
The approach: The Higher Education Design Lab will examine a broad range of programs and practices designed to strengthen student learning. Its initial focus includes initiatives aimed at fostering dialogue—including university speaker series, co-curricular training and exposure to diverse perspectives—to better understand how these experiences shape engagement, collaboration, critical thinking and confidence in discourse.
The lab will also study career-readiness programs, evaluating which approaches, such as employer partnerships, provide the strongest outcomes for both students and employers.
First-year and orientation experiences, including civics and community-building modules, will be analyzed to see how required versus optional participation affects leadership skills, critical discourse and student well-being.
Teaching and learning innovations, from faculty development programs to instructional tool kits, will be assessed for their impact on classroom and campus learning.
Finally, the lab will explore experiential and community-based learning, including service learning and study away programs, to determine how high-impact practices cultivate skills for navigating diverse perspectives and preparing students for leadership opportunities.
Tarlow said the lab will rely on both qualitative and quantitative data to understand not just whether programs work, but under what conditions and for which students.
The qualitative and quantitative data “often play off each other in really interesting ways,” she said. “We keep coming back to the same core question: What works best, in what conditions and for whom? And depending on what we’re studying, we’ll use the methodology that best helps us answer that, because not everybody responds the same way to the same things.”
What’s next: The Higher Education Design Lab will have an advisory board of higher education leaders and other institutions, including the City University of New York, and intends to invite additional universities, research centers and government partners to participate over time.
Tarlow said the lab’s first year will focus on identifying the pilot projects and specific parts of campus life the team wants to study most closely.
“There is already a lot of knowledge and good work happening in all of our institutions,” Cappella said. “What is new and exciting about this particular initiative is that we’re really dedicating time and attention internally and across institutions to doing this more collaboratively and more intentionally.”
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This blog was kindly authored by Sholto Lindsay-Smith, Founder Director at Industry.
Universities have always had brands, long before they had brand guidelines. Their names carry weight, their reputations shape choice, and their architecture and tone say as much as any visual identity ever could. But as competition intensifies and finances tighten, branding is being used differently. It is no longer just a way of expressing who you are; it is increasingly seen as a tool to fix who you have become.
When brand becomes a quick fix
That shift has made brand strategy more visible, but not always more meaningful. Some institutions reach for branding too early, hoping design or language can solve deeper issues of identity. Others turn to it too late, treating it as an afterthought once major structural changes are already in motion. Either way, brand becomes detached from truth.
The University of Bolton’s plan to rename itself the University of Greater Manchester captured this tension perfectly. The logic was clear: broaden recognition, attract international students, and align with a region better known abroad. Yet the reaction from local MPs, alumni and commentators revealed discomfort at the idea that relevance could be borrowed. In chasing prestige, the university risked diluting the story that made it distinctive while blurring the line with its established neighbour.
If Bolton represents the outward pursuit of stature, the University of Warwick’s 2025 rebrand shows the opposite instinct: refinement. The new identity is modern and assured, visually linked to the university’s Brutalist architecture and centred on the word “Beyond.” It projects ambition and clarity, yet feels detached from the lived experience of a dynamic, human and intellectually alive campus. Capturing a university within a single narrative will always be difficult.
Together, these examples show a pattern. Universities are reshaping how they appear before clarifying what they stand for. Branding becomes a way to project control and confidence in an uncertain market. But when meaning is unresolved, those choices risk feeling cosmetic: tidy, professional and slightly hollow.
Reclaiming substance
The strongest university brands start from substance, not style. Their distinctiveness lies in how they interpret their purpose: curiosity made public at Oxford, invention woven into MIT, civic service at Manchester. These are not slogans; they are living narratives.
The universities founded in the 1960s, Warwick, Sussex, York and others, were built on a different kind of ambition: a post-Robbins optimism that saw higher education as a national engine of progress. Their founding principles championed interdisciplinarity, access and relevance to society. Many still reference innovation in their brand stories today, but the opportunity lies in making that spirit tangible again by translating institutional ambition into lived experience.
Branding through change
That same search for identity now plays out at an organisational level. Across the UK and Europe, alliances and mergers are accelerating as universities seek scale, stability and shared purpose. Yet branding often enters too late, once the legal and operational frameworks are fixed, rather than guiding the process from the start.
A Forvis Mazars paper on college mergers quoted Benjamin Franklin’s line that “an ounce of prevention is worth a pound of cure”: a reminder that the time to define purpose is before the process begins. When brand is part of that conversation early, clarifying mission and aligning cultures, it can hold the whole thing together. When it is left to follow, it merely papers over the cracks.
Different models show what is at stake. The partnership between Greenwich and Kent, which share a parent brand but retain distinct operating identities, shows how collaboration can create scale without erasing individuality. By contrast, City and St George’s have chosen full integration under a single name and structure. Each route carries trade-offs: one balances collaboration with complexity; the other clarity with compromise.
Coherence before appearance
Ultimately, effective university branding is not about logos or taglines. It is about coherence: aligning purpose, place and perception so that every expression, visual or verbal, reflects who the institution is and what it stands for. Expression gives form to meaning, turning strategy into something people can see, feel and trust.
For governing bodies and executive teams, brand coherence should be treated as a leadership issue, not a design one. When meaning comes first, design becomes not decoration but evidence.
The universities that thrive will be those that resolve meaning before appearance, modernising without flattening, expressing ambition without abstraction, and using brand to clarify meaning rather than replace it. That might mean articulating what makes their teaching distinctive, defining research specialisms, or strengthening their role in civic and social innovation.
Because the question facing higher education is not how to look relevant, it is how to be relevant.
When a school building fails, everything it supports comes to a halt. Learning stops. Families scramble. Community stability is shaken. And while fire drills and lockdown procedures prepare students and staff for specific emergencies, the buildings themselves often fall short in facing the unexpected.
Between extreme weather events, aging infrastructure, and rising operational demands, facility leaders face mounting pressure to think beyond routine upkeep. Resilience should guide every decision to help schools stay safe, meet compliance demands, and remain prepared for whatever lies ahead.
According to a recent infrastructure report card from the American Society of Civil Engineers, the nation’s 98,000 PK-12 schools received a D+ for physical condition–a clear signal that more proactive design and maintenance strategies are urgently needed.
Designing for resilience means planning for continuity. It’s about integrating smarter materials, better systems, and proactive partnerships so that learning environments can bounce back quickly–or never go down at all.
Start with smarter material choices
The durability of a school begins at ground level. Building materials that resist moisture, mold, impact, and corrosion play a critical role in long-term school resilience and functionality. For example, in flood-prone regions, concrete blocks and fiber-reinforced panels outperform drywall in both durability and recovery time. Surfaces that are easy to clean, dry quickly, and don’t retain contaminants can make the difference between reopening in days versus weeks.
Limit downtime by planning ahead
Downtime is costly, but it’s not always unavoidable. What is avoidable is the scramble that follows when there’s no plan in place. Developing a disaster-response protocol that includes vendors, contact trees, and restoration procedures can significantly reduce response time. Schools that partner with recovery experts before an event occurs often find themselves first in line when restoration resources are stretched thin.
FEMA’s National Resilience Guidance stresses the need to integrate preparedness and long-term recovery planning at the facility level, particularly for schools that often serve as vital community hubs during emergencies.
Maintenance as the first line of defense
Preventative maintenance might not generate headlines, but it can prevent them. Regular inspections of roofing, HVAC, plumbing, and electrical systems help uncover vulnerabilities before they lead to shutdowns. Smart maintenance schedules can extend the lifespan of critical systems and reduce the risk of emergency failures, which are almost always more expensive.
Build flexibility into the design
Truly resilient spaces are defined by their ability to adapt, not just their physical strength. Multi-use rooms that can shift from classroom to shelter, or gymnasiums that double as community command centers, offer critical flexibility during emergencies. Facilities should also consider redundancies in HVAC and power systems to ensure critical areas like server rooms or nurse stations remain functional during outages.
Include restoration experts early
Design and construction teams are essential, but so are the people who will step in after a disaster. Involving restoration professionals during the planning or renovation phase helps ensure the layout and materials selected won’t hinder recovery later. Features like water-resistant flooring, interior drainage, and strategically placed shut-off valves can dramatically cut cleanup and repair times.
Think beyond the building
Resilient schools need more than solid walls. They need protected data, reliable communication systems, and clear procedures for remote learning if the physical space becomes temporarily inaccessible. Facility decisions should consider how technology, security, and backup systems intersect with the physical environment to maintain educational continuity.
Schools are more than schools during a crisis
In many communities, schools become the default support hub during a crisis. They house evacuees, store supplies, and provide a place for neighbors to connect. Resilient infrastructure supports student safety while also reinforcing a school’s role as a vital part of the community. Designs should support this extended role, with access-controlled entries, backup power, and health and sanitation considerations built in from the start.
A resilient mindset starts with leadership
Resilience begins with leadership and is reflected in the decisions that shape a school’s physical and operational readiness. Facility managers, superintendents, and administrative teams must advocate for resilient investments early in the planning process. This includes aligning capital improvement budgets, bond proposals, and RFP language with long-term resilience goals.
There’s no such thing as a truly disaster-proof building. But there are schools that recover faster, withstand more, and serve their communities more effectively during crises. The difference is often found in early choices: what’s designed, built, and maintained before disaster strikes.
When resilience guides every decision, school facilities are better prepared to safeguard students and maintain continuity through disruption.
John Scott Mooring, Mooring USA
John Scott Mooring is the Chief Executive Officer at Mooring USA, bringing nearly four decades of experience in disaster recovery and restoration services. With deep roots in a family-run business that helped pioneer the industry, he leads Mooring in delivering turnkey solutions for emergency response, remediation, and commercial construction across the U.S.
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This blog was kindly authored by Heidi Fraser-Krauss, Chief Executive of Jisc.
UK higher education is in a period of profound change. Artificial intelligence, data-driven research, and new models of learning are redefining what it means to deliver value to students and society. At the same time, institutions must navigate complex risks, from cyber threats to infrastructure demands, while responding to significant financial challenges and ensuring they remain agile, competitive, and a key delivery partner in supporting the government’s growth ambition. The question is not whether technology will transform education, but how we harness it to strengthen the sector for the long term.
Jisc’s 2030 vision was developed with these realities in mind. Designed not as a digital revolution but rather an evolution, it ensures that Jisc is focused on providing the tertiary education, research, and innovation sectors across the UK with the secure infrastructure, digitally empowered leadership, economic sustainability, and agility needed to meet the next decade head-on. Here’s how its four pillars align with the sector’s most pressing needs.
1. Sector leadership and strategic influence
For universities and colleges to thrive in a rapidly evolving digital landscape, the sector needs a strong, informed voice influencing national policy. Decisions on AI governance, cybersecurity standards, and digital research infrastructure will shape the conditions for innovation and competitiveness. By ensuring these policies are informed by evidence-based research and insights into how digital, data, and technology are experienced and managed across education and research, the sector can secure investment, reduce risk, and create an environment where technology drives better outcomes for learners, researchers, and the broader economy.
That voice must also ensure smart use of data – where Jisc’s role as the designated data body, through its merger with the Higher Education Statistics Agency, helps reduce burden and improve insight. Strategic partnerships, such as the recent agreement with the Association of Colleges and collaborations with Colleges Wales, Ufi VocTech Trust, and Universities UK strengthen advocacy and ensure digital priorities reflect the needs of learners and educators across all nations. Over the next five years, Jisc’s deeper engagement with government, funders, and senior leaders will be critical to embedding digital thinking into policy and strategy across the UK.
2. Focus on sector-wide challenges
Digital infrastructure underpins everything from research breakthroughs to everyday learning. As demand for bandwidth and data grows, driven by AI, high-performance computing, and new learning models, the sector needs networks and security systems that can scale.
At the same time, financial pressures compound these challenges. Rising costs, resource constraints, and the need to keep pace with digital technology affects all institutions. Collective negotiations with major vendors can deliver significant savings, while shared services for cloud, cybersecurity, and data management reduce duplication and free up resources for teaching and research.
These efficiencies work only if the underlying infrastructure is strong. The Janet network remains the backbone for UK education and research. Projects such as the Isambard AI supercomputer at the University of Bristol highlight the scale of future requirements: vast data flows and advanced computing power that demands resilient, high-capacity connectivity. Sustaining and strengthening Janet, alongside robust cybersecurity measures, ensures institutions can innovate confidently, protect intellectual property, and remain globally competitive. This is about creating the conditions for progress, not just for today, but for the next decade.
3. Financial sustainability and commercial focus
To continue delivering value and protect essential services, Jisc must operate sustainably. For 12 years, Jisc has operated on flat cash funding, even as demand for digital infrastructure and services has grown exponentially. To continue meeting members’ evolving needs, Jisc is becoming more commercially focused, developing sustainable models and exploring new ways to support members. This approach ensures that collaboration continues to be at the heart of all that we do, and that every institution, regardless of size, can access the tools and infrastructure needed to succeed.
4. Operational excellence and agility
Embedding digital into strategy also means ensuring the organisations that support education are fit for the future. Jisc is investing in its own products, services, and back-office systems to deliver a more streamlined, joined-up experience for members. By removing silos and modernising processes, we aim to save money and provide greater value, while responding quickly to emerging needs. These changes are designed to make it easier for institutions to access the infrastructure, data, and expertise they need, without complexity or duplication, helping the sector focus on what matters most: teaching, research, and innovation.
Looking ahead to 2030
At Jisc, we are fully aware of the scale of the challenges facing the sector, and we take our supportive responsibilities seriously. The next five years will define how UK tertiary education responds to the accelerating pace of digital change. Our commitment is not only to help institutions meet those challenges, but to ensure they can seize the opportunities that digital and data present, helping students, researchers, and all of us across the UK to prosper in the future.
We will work with our members to create the right conditions for innovation: secure infrastructure, smarter use of data, and a culture that sees digital as integral to strategy, not an add-on. By working collectively and planning for scale, we can turn complexity into opportunity and ensure learners and researchers benefit from world-class technology.
The challenge is clear, and so is our ambition: to make digital transformation the foundation for the sector’s future.
The new report Rethinking Student Voice: How higher education must design effective student governance (HEPI Report 195), written by Darcie Jones exposes a key issue within university governance: the marginalisation of student governors.
With financial pressures intensifying across the sector, thee stakes for effective governance have never been higher. Yet, despite being core stakeholders within universities, many students on governing boards feel sidelined by opaque processes and exclusive norms. The evidence within this report reveals a persistent gap between symbolic representation and meaningful participation.
However it’s not all bad news, the report also highlights what is possible when the student voice is taken seriously. Using examples of effective practice it demonstrates the transformation value of empowered student governance.
Drawing on extensive evidence and sector insights, the report sets out clear, actionable reforms – from accessible governance culture, to improved recruitment, induction and development. They provide a pathway from why student perspectives and voices can be embedded at the heart of decision-making within universities.
Art students, take note. December’s College of the Month highlights Savannah College of Art and Design (SCAD), which offers a collaborative, creative environment that will allow you to build an impressive portfolio while immersed in vibrant Savannah, Georgia. If that sounds exciting to you, read more about Aleece’s visit to SCAD!
The Public Health Resonance Project at the University of Hawaiʻi at Mānoa collaborated with a talented artist to create illustrations to better share their research. Have you incorporated art into your research communications?
The Public Health Resonance Project at the University of Hawai‘i at Mānoa “amplifies unique attributes and deep connections across regionally and culturally relevant physical activities for health promotion and community wellness, locally and globally.”
Art and illustration can enhance how you share your research. Collaboration between the Public Health Resonance Project and a talented artist included feedback from the whole team to ensure the illustrations were culturally relevant to the research. “It was necessary.”
This episode features
Dr. Tetine Sentell, co-lead of the Project and Chin Sik & Hyun Sook Chung Endowed Chair in Public Health Studies at the University of Hawaiʻi Mānoa
Esme Yokooji, a graduate student in Public Health and social media coordinator for the Project
The episode on Art and Design to Share Your Research Story felt so special. It’s the 1st time these collaborators have all come together on video 🎧🎙️✨
I love that I got to design their website and bring us together for this conversation. We talk about the research, art, and share 3 beautiful new illustrations with you.
There’s many ways to be more visual with your research such as data visualization, illustration, comics, science art, photography, video. I love that the PH Resonance Project found an artistic partner in Sunnu Rebecca Choi.
I hope this video inspires you. Save this post for later. You may not have 32m 5s to watch or listen today. But save it even if you just have a hint of ‘I want art for my research’ and you’re unsure how you’ll get there.
A dream I have is that more research groups, labs, and centers invest in collaborating with talented artists like Rebecca. These partnerships can help people around the world engage with (and share) research that’s meaningful to them. And also I love art.
Omg if this post (or the video) inspires you to reach out to an artist about working together? Please share it with me, I would love that! 🥹
Behind-the-scenes
Before we dive into the interview, I have a quick story to share with you about recording. Or, you can skip right to the interview.
My computer crashed right in the middle of our recording 💻😱
I’m freaking out. My desktop computer light is blinking red at me like a danger sign. When I try to cycle the computer on the fan goes crazy.
The podcast episode going live today? There was a moment there I thought it wasn’t gonna happen. When I finally made it back on, maybe 10 minutes later, I was delighted to find my guest happily chatting away. When I went back to watch the recording, they were so cute. “Oops! Looks like our host has dropped off,” and then right back to their conversation about art and research.
We were able to complete our recording. But this episode needed a bit more.
We had high resolution art to share. There was a story in there that needed attention to bring out 🎨✨️
And thank goodness I sought help. I soon learned my own audio/video? Parts of my solo video were unusable. Super lagged.
Luckily, I have a talented husband I’ve been teaming up with for his professor dad’s art focused YouTube channel. I love that Matthew can help.
The video is finally ready for you. Thank you!
Technical problems may happen 💯
Have you worried about something going wrong with your computer too? Things may go wrong with tech, but I hope it doesn’t for you! 🫶
Every time something goes wrong, I get anxious about my own unsurity of what comes next. People are often kind and understanding. When I’m the one experiencing technical issues, it feels like a huge deal and inconvenience to people. I have to remind myself: When I’m on the other side of that? I always understand. It’s super relatable. I can’t envision myself getting mad, angry, or hurt but someone else’s technical glitch. If your computer crashes in the middle of our meeting, I’ll totally get it too.
I wanted to share this story with you because for a moment there? It felt like this podcast episode may not happen. But it did. We made it happen. I’m so happy / relieved. I’m proud to share it with you 👋😄
The special 2024 logo was designed by Sunnu Rebecca Choi.
Tetine: Rebecca, we love you so much. I’m so excited to meet you in real life.
Rebecca: Thank you. I was really looking forward to meet you guys, all.
Tetine: You’re like our artistic hero, so it’s so fun to have an opportunity to do this. Thank you, Jennifer for making it happen.
Jennifer: Wait, Tetine. How did you first find Rebecca? How did you first connect?
Tetine: Oh yeah, so I have it in my slides.
Jennifer: Oh, you do? Okay. Show me your slides.
Yeah, yeah yeah! As a team, this is kind of our first time all meeting live and I’m so excited that we’re all here together. Tetine, why don’t you start us off. Would you please introduce yourself and tell people a little bit about your research?
Tetine: Sure. Aloha. I’m Tetine Sentell. I’m a Professor here at the University of Hawaiʻi at Mānoa in Public Health. I’m the department chair of public health and I am one of the co-founders of the Public Health Resonance Project, which is a really exciting, interdisciplinary, collaborative synthesis of literature, engagement with literature, dissemination of literature project we’ve been doing now for several years that this team has assembled as part of, and I’m just been so grateful to be part of that. And it’s really about sharing opportunities for strength-based public health promotion, especially around culturally and regionally relevant physical activity and how that’s meaningful to people as individuals, as families, as communities, and as collectives.
Jennifer: What are some examples of those culturally relevant activities? Just so people have an idea.
Tetine: So in Hawaiʻi, some examples would be hula, spearfishing, outrigger canoe paddling, for instance. And then of course, in many other places there are resonance and activities from culturally relevant dance, folk dances, regional relevant dances, practices in the water, practices in the land.
Jennifer: Esme, would you introduce yourself?
Esme: Sure. My name is Esme Yokooji. I’m a Master’s of Public Health student at UH Mānoa, and I am the graduate research assistant on this project. I’m in the NHIH or Native Hawaiian and Indigenous Health specialty at UH. And, in my free time, I am someone who participates in these activities. I do Okinawan dance. I like to volunteer in ʻĀina doing things like Kalo planting and just conservation and restoration work in our natural habitats here in Hawaiʻi. That’s what initially drew me to this project is just the real life connection and seeing how community engages with these things. So mahalo for having us.
Jennifer: Rebecca, you are coming here from London. This is fun. London, Hawaiʻi, and I’m in San Diego. Rebecca, tell me a little about your journey as an artist.
Rebecca: Hi, my name is Sunnu Rebecca Choi. I’m an illustrator and printmaker based in London, but I’m originally from South Korea, lived in Canada and United States and now ended up in London somehow. And then I used to be a fashion designer in New York and Toronto, but then I decided to change my career, become an illustrator. Right now I’m specializing in editorial illustration as well as children’s book illustration, mostly focusing editorial illustration wise, mostly focusing on medical scientific as well as psychologies. And I work with a lot of different university magazines as well.
Jennifer: Thank you. So everyone listening knows, I did design the website [for the Public Health Resonance Project]. I had so much fun doing this project because there are so many visual elements to all of those activities and to the people who are engaging with them. This is about people.
Tetine: I am so happy to be here because we’ve been working on this international, collaborative project for so many years, and one of the things we really wanted to do was make it so beautiful and really make it so it could be disseminated and shared in ways that inspire and engage and delight people. And so I developed this logo as we began consolidating and thinking about disseminating in collaboration with some partners, and in particular with my husband and all who helped build it. So thank you, Craig. It was a meaningful logo. We felt it was really important. I have this slide here to really show we were inspired by the Hawaiian colors and the deep ocean from the shore to the sunset, and really thinking about the levels of influence and the social ecological model, which is our theoretical influence in the background from a public health perspective and thinking about the ripple effects and the waves that grow and build and move across. And really thinking about the place to connect the project and the connections and the links, the ripples, the reflections.
We had this endowed chair and this opportunity, and so I was really reflecting and thinking about this and this absolutely beautiful art came in my alumni magazine. Can you see how beautiful that is? It’s so pretty. I even have the one I pulled out of my alumni magazine and it was Rebecca’s artwork and it was so beautiful and it really had the feeling of what we were thinking about of these reflections, of these perspectives. You can see it has a lot of depth and story to the artwork as well as just being so peaceful and beautiful and meaningful. And so that’s how I found the artwork and had no idea how to engage with artwork or what to do in this particular way if it was contractable through a university through our funds. But anyway, just cold emailed through the link in the website and she has a beautiful website if you’ve seen it. And through that started a conversation that has just been really so fruitful and so exciting and just I’m so honored to be part of this. And in collaboration also with Esme and others who’ve really helped support and build the artwork into spaces that we can use it for all the things we wanted to do.
Jennifer: That is amazing. I’m so happy that we had a chance to hear that kind of origin story because I feel like there’s so many possibilities that we just don’t know exist as researchers, as academics, even as artists. What can we do to better connect and help shape our ideas together? Rebecca, how did you feel when Tetine first reached out? Is this a kind of project that you’ve done in the past?
Rebecca: No, actually it was really interesting because I haven’t really worked with other universities before. So was it, what university?
Tetine: Middlebury.
Rebecca: Yeah, Middlebury Magazine. That was my first alumni magazine that I worked with, university. And then when Tetine emailed me I was like, “Oh, I actually didn’t know it was released already.” That’s how I knew that magazine has been issued. Yeah, so that was really interesting. And then since then I’ve been working with a lot of universities in United States, so that opened a new opportunity for me as well.
Jennifer: And so I’m curious Tetine, what about art helps bring the community together? Why invest in this kind of visual element?
Tetine: Of course, art inspires us, engages us, pulls us in, makes us think, is important to us as humans, as people in the world. But I also think in academia we do a lot of intricate, thoughtful, engaged practices and activities that often are not accessible because they’re deep inside words and publications, sometimes even behind paywalls. And I think there is a lot of intricacy and story in even peer-reviewed academic journal papers, much less the smaller summaries of them. View open access resources from the PH Resonance Project.
And so it just felt like this was such an opportunity relative to the work, work now, to disseminate and to share it, to think about how it’s helpful, how it’s good for mental health, how it’s engaging, how it’s good for physical health, how it’s good for strength. All that was sort of built in the background of how to share out, this was so important to disseminate in communities and to people. And then with that joy, right. This is a strength-based activity. It’s a thing that brings people together, makes them happy, makes them joyful, connect with each other. And I think that’s one of the things art can do. It felt like such a nice synergy and such an amazing opportunity to really tie all those things together.
Jennifer: You brought up joy, and that’s something that I really get not just from the beautiful illustrations that have been customized to represent different activities that the project is researching, but also in the new version of the logo, in the thoughtfulness of how it all comes together through, you have created brochures, event flyers, like physical things and materials to help people engage in person. And that artwork also creates that same warmth and feeling online. Rebecca, I’m curious about your process working on what feels like something really representative of community. What was that process like for creating the artwork for this project?
Rebecca: The process-wise, whenever I receive a brief, I start with the research. Understanding how each activity is carried out, what equipment is used, and learning about the cultural context, from coding to landscapes. And that process helped me make the imagery as accurate and respectful as possible. Also, every time I create the illustration, my goal was to highlight public health at the community level, showcasing people coming together, whether it’s a mother and a child, a family, or a wider community group. I wanted the artwork to capture the moment and that sense of connection and shared care. I believe illustration has the power to bring people closer and help them resonate more deeply with the subject matter. And I think that was my main goal in creating those illustrations. Usually, when I’m working on the brief, I come up with three different concepts or ideas for each illustration.
Whenever, if I’m working on the canoe activity, I come up with three different composition or concept or focusing on something different for each illustration for the client to choose from. And that’s how I start creating the art. And then once we decide which concept we are going to go with and then I go render the illustration, my rendering process is quite interesting because I’m a printmaker as well. I create all the textures using printmaking techniques, either monoprinting, etching, or any kind of things that I can get hands on and I scan them in. And then in terms of the final illustration, I use Procreate on iPad and then bring all the textures together on iPad. So it’s a mix of digital and analog process.
Tetine: That’s why it’s so tactile. It’s like you can really feel it even through the internet. It’s really beautiful that way.
Esme: I felt the same way though. When I first saw the illustrations, I was like, “Oh, it’s almost like it’s painted on washi paper.” Like watercolor on washi. It’s so beautiful.
Rebecca: I will sometimes use the watercolor and washi or, accurate. So in my studio I have bunch of papers with all different kinds of textures and colors, which I can just use on any kind of illustration.
Esme: That’s so cool.
Tetine: It is. It’s so beautiful. I just love how it all works together and it really has such a feeling about it. Your work is so specifically you, but then you’re also using it so collaboratively to share other people’s vision, which is not an easy thing to do, I think as an artist, and I really appreciate the collaborativeness with which you’ve approached this, these. The first one as the initial one, as thinking about how to share and showcase what we were trying to do. And then very specifically in a regional context and an actual, it’s a specific way, it’s a specific bay you’re coming into and the landscape like you mentioned, and the practice and the movement and the arms, and then really thinking about who is in the canoe and what they’re wearing. And then as we have thought about it for the other resonating activities, to be willing and offer the opportunity for us to really be in collaborative conversation, even as the artwork is pretty far along to be like, “Oh no, we’ve gotten comments from our community members that this isn’t correct or we need to fix this.” I’m just so grateful for that.
Rebecca: Yeah, it was really, really interesting learning process for me as well because I knew about, briefly know about samba or Tongan, but I didn’t really specifically know about their clothing or how it works and how the body moves, things like that. So for me, it was a really, really good opportunity to learn about different activities as well.
Tetine: And I think that’s actually, exactly the project. In the sense that each one has not only resonance across, but these unique, very specific pieces of engagement, the land with the ocean with movements particular, with stories and songs and clothing from the community and care. And so the opportunity to showcase that and to showcase that very specifically about, in place for people doing it with each other as families and as communities, not specifically as, not as a show, but as a practice in community. And that has been really important. And as we share and tell the story of the artwork, that’s a really important piece of the, of our sharing of what you’ve been doing as well. Aloha.
Esme: I also want to say, Rebecca. I used to work in Heʻeia at the fish pond that kind of portrays that bay. And it was so funny because when we had the first kind of in-person activity, it actually took place in Heʻeia, but in the back of the valley. And it was so wonderful because when we showed the work to the people that are participating, they’re like, “Oh, that’s, Heʻeia, that’s here. They were able to instantly recognize from the art. And I think that, even people that weren’t affiliated with the project, were interested and curious. And I think the art was a big draw, seeing a place, recognizing it, feeling properly represented. So I just wanted to say thank you for that. That was so wonderful.
Rebecca: Yeah, also thank you for all the feedback that Tetine gives. Also, all our illustrations were reviewed by experts and that’s how we can actually get a correct imagery and then representative of the place as well.
Tetine: Yeah, and I’ll just say the funders of this, the endowed chair that I hold that has allowed this opportunity, it’s from a family enterprise and it’s all been in the background. I mentioned my husband helping with this. There’s a lot of family connections because Mele [Look], my beloved colleague who has done this project with me, certainly has helped connect to some of the cultural and regional experts, but in particular on the Heʻeia ridgeline, her husband Scott is a geologist, and he was like, “This ridge line is not correct. You have to go down. It happens like this, not like that.” And he drew a line for the ridge line so it was proper. That’s the level of detail and actually cultural consultation and regional consultation that’s been possible through this collaborative project.
Jennifer: It sounds like a lot of people were involved in the art making, and that’s something that’s probably really unexpected for folks who are listening to this. So it was the two of you as well as it sounds like experts?
Tetine: Yeah, yeah yeah. As Rebecca mentioned, we had the brief, we have a conversation, and then she would send three sort of options of things. And then those three options we would run by people who practice those activities, who work in the region, who engage in the practice. That certainly included my colleague Mele, who’s been part of this all along in every way, but also, exactly, people who paddle for the paddling one, people who participate in wild skating for the ones you’ll see in a minute we’ll talk about, and people who do samba, people who do Tongan dance. And so exactly this. So out of the three that we’ve chosen one to go with, and that one is really prioritized. Community, that it’s about being with family or being with others to do practices that bring people joy together, collaboratively in their real lives. That this is about, sometimes they are ceremonies at a wedding or at a party with a community, but they’re not about a show. They’re about a practice together in community.
And so that’s always been the background of the activities we’ve been showcasing. But then from those and from the one we’ve chosen, then she does a more developed artwork. And then from that more developed artwork, that’s where we really are like, okay, well this color or this clothes or this line or this is not how the arm would be, or this is not the exact proper direction of the canoe relative to the shoreline. That level of detail has been really important and part of the iterative conversation. And then we go back to consult and come back. So it’s a very iterative process.
Jennifer: When you started the project, did you know how long it would take to produce art using all of this feedback?
Tetine: For me, that is kind of how the process of most of the work that I do works, where there’s a lot of, we work a lot with community and in practice and public health is about that. I would say for me, not a surprise, but I did feel really bad for Rebecca. I felt it was a lot to ask the artist to engage in sort of the academic consultation process at that level of detail. But she was a really good sport about it.
Rebecca: It was very interesting because I also, I do longer projects or shorter projects. Usually the book projects are very long. Sometimes it lasts from three months minimum to one year or more than one year. But then editorial projects usually ends within two weeks. I think this project was in between, I guess.
Jennifer: I appreciate that. And for folks who are listening, if you’re considering working with an artist asking about their timeline, but also considering who you need to bring into the conversation for that art is helpful upfront so that you can talk about it together.
Tetine: Could I just add to that exact thing, which is that because of this project being so specific about culture and place and about those practices, it was vital and we couldn’t have done it otherwise. Because if the artwork for the practice doesn’t make sense to the people participating, we shouldn’t do that artwork at all, right? And so that was built into this. I could imagine other scenarios where you wouldn’t need quite such level of detail because maybe you’d be talking about just a feeling or something to connect with this, but this was so vital that we have that level of detail
Jennifer: Esme, as someone who is using the art to create flyers and other kinds of, I would say marketing materials, but is it marketing materials?
Esme: Well, I would say my background is also in organizing, and that was where I had most of my social media, video editing experiences actually in making, for lack of a better word, propaganda. But kind of trying to inculcate people and inform them, somewhat a combination of educational materials. And I think the goal of this project is, Tetine spoke on, is just to shine a light and a spotlight on these different activities, on these different researchers, on the work that they’re doing and its value. I think for me, what I’ve really enjoyed about being a part of this team is how much Tetine specifically stresses the importance of cultural competence and humility. And I think that understanding how specific everything is, understanding how tailored it is, really conceptualizing who our audience is, who’s going to be benefited by our materials, is something that’s really important to me, specifically being in Native Hawaiian and Indigenous Health. Because I think having more culturally tailored interventions or even having more culturally tailored messaging, having artwork that is accurate that people can recognize, that immediately draws them in I think is really valuable and important. It’s been truly really fun, honestly, to make materials and just experiment with the different kinds of things, whether it’s making a video intro or editing a logo for a flyer or collaborating on a poster or any manner of things. It’s been a joy.
Jennifer: Tetine, what would you like folks to know about, okay, there’s so many people out there who are like, “I do want a website. I do want to have beautiful artwork for my events. I do want these things, but I don’t know if it’s worth my time as the PI [Principal Investigator].” You are the decision maker here. And so I’m curious, what made you know that this was worth it for you in terms of your energy?
Tetine: Yeah, I mean, I think it is a conundrum of academic practice these days actually. This how we engage in the PR of the work we do in a sort of dissemination campaign. Generally, people do so much valuable work that they don’t [promote] because of their own demands of academia. They don’t have the time, capacity, support system to help be sharing that out. I guess I would advocate not for this to be something that individuals need to do only because it isn’t something an individual can do only. I was able to pull this together by the amazing collaboration, by being fortunate to have, hold this endowed chair and being senior enough in my own career that the publication process or grant making process was not the only thing I really needed to prioritize relative to my own goals of my academic, what I wanted to do with my career.
And so it has been actually a joy and an honor to be part of this collaboration, to keep building it, to keep growing it, to engage in sharing it out. Like as Esme is saying and dissemination materials might be one of the terms I might want to use for some of the things we’re doing to think about how we’re sharing out and why. What we want to do is think about how to build in the opportunity for innovative ways in which we showcase the work we do in academia and in art being one of the fundamental ways in which we can share out. And then the art being collateral, like Esme is mentioning and we’ve talked about. And that, Jennifer, is one of the great skills that you hold is how we share out the beautiful work that an artist achieves in collaboration with us, like Rebecca is doing. Then in YouTube and LinkedIn, or in community, and handouts and flyers. How do we do that? That’s certainly not something we learn in graduate school, but in the background is all this important work that deserves to be showcased.
Jennifer: Ah, wonderful. Are there slides that you did not share that you want to be sure to get into the video? Is there anything else that we should be sure to talk about today?
Esme: Only that I think from what I’ve experienced, because a lot of what I do specifically focuses on Indigenous Health and what did this Project was specifically trying to reach and elevate and focus on communities that have historically been marginalized, experienced disparity. But coming from the perspective of how is culture a source of strength, how is connectivity to land and to heritage a source of strength? And I think that using art is something that reinforces that message because a lot of times Indigenous Arts and Traditions, whether it’s storytelling or even hula, is considered an art form as well as a physical activity has been marginalized. So using art as a means to tell these stories and amplify these messages feels so right and is a source of resonance for me anyway. And engaging in this work.
Rebecca: So much of this project, the process was about discovery for me as well. Through this collaboration, I learned so much about the diverse cultural backgrounds behind each brief. And also me as a Korean Canadian based in London, I have so much different cultural diversity within me as well. So it was really valuable experience for me to work on those illustrations and artistically it also encouraged me to explore new colors and compositions that I never used before as well. So finding ways to express not just the activities itself, but the joy and vitality that shines through them while highlighting the connection between people, community and nature, was really, really enjoyable working on this brief.
Jennifer: Well, I’m very excited for the art to come. I’ve never had such beautiful art packaged, ready for me to consider for a website design. I felt really honored to be able to work with the thoughtfulness that I could tell everyone who was involved with this project put into the creation of these art pieces. And there’s new ones that I guess they’re maybe going to be premiered on this video if they’re not on the website first, and I’m very excited to share them with all of you. So Tetine, let’s do your slides.
Tetine: This was the beautiful artwork we talked about before that I was inspired by. And then this is exactly like, to showcase both the artwork itself and then the artwork, the initial one we’ve been talking about so much, the one, the paddling, the outrigger canoe paddling one, you can see the family, you can see Heʻeia in the background. And then you can also see how we used the artwork as a piece of the story we were telling, which was that we were doing various gatherings over the world, essentially, last year. And that we were thinking about, this was something, we had note cards, we had a poster, we had small business card size handouts to really share and tell the story about what we were doing. So the new artwork includes resonances specifically with this one. This is based in Hawaiʻi and our community here. And then we wanted to really think about how this resonated in other places.
So this is wild skating in Scandinavian lands. And we had feedback, for instance, specifically here in this one about the trees that actually from our Swedish colleagues said no one would ever go out without a helmet. And so we put a helmet on the child because we were like, that makes sense. That’s the cultural practice. Same with the backpack and the way she’s holding her poles. That the backpack, they were like, we’d never go out into the wilderness without some sort of backpack or something to be safe. So again, really thinking about how communities engage in these practices in real life versus what you might see on a tourist brochure. That was really important to us. Again, you can see the mom and her child. And then really, dance is a really important culturally and regionally relevant community, relevant practice, again, all over the world.
And so dance, a lot of the research is in dance specifically for so many different pieces of staving off dementia, Parkinson’s, community wellness, mental health. And so here we have our Tongan dance example we talked about earlier, and the samba dance example with input, in collaboration from colleagues from Tonga and Brazil, specifically talking about what this might look like in practice and what this might be like. And so for instance, in the samba one, at first we had these very elaborate headdresses and activities and our colleagues said, well, certainly we do that in Carnival and something, but that’s not what you would see in a community. That’s a special event for a different type of piece. And so if you want to think about how people would do these practices in real life, in community, it would be more casual like this. And same, we talked a lot about in the Tongan example about the clothes, what that might look like, how people would be engaged, what would be respectful, what would be expected, that this is a bit of a dressy event, but also a family event and what that might look like and how the arms are, the stories being told with the hands and the arms and the motions and what music would be relevant.
You can see in the background a lot of those conversations. The last thing I just wanted to highlight is, as we talked about earlier, we have different logos to go with each one. Because the resonance is across, and the first one really started with the Hawaiian sunset and colors. And then you can see these colors in the background are from some of these other places as well. So highlighting that resonance across that, we really want to think about the colors and the schemes, in terms of people’s communities and specific places. Which is to share, we really talked about this, and I know I think Jennifer, you have an example, but just how we’ve been able to engage in our own activities and practices using this artwork because of Esme’s skillset as well. And because of the capacities and the conversations, including with you, Jennifer, and the website. How to share out and showcase the conversations we’ve had with so many wonderful experts across the globe. And this really is just such a tremendously collaborative project. And so that’s really been a great joy of this project as well, is how to all the strengths and experiences and skillsets that people bring to the table together, really thinking about where we showcase that and how to do that in the most beautiful, respectful, exciting, engaging way possible.
Jennifer: Yay. Thank you so much for recording this with me. I feel like you were all so excited to talk that it really is going to make for an engaging episode for people, and I really hope that it inspires other folks to consider collaborating with an artist or even reaching out to Rebecca because you’re such a valuable resource for people. I love how much attention that you give to not just what needs to be communicated, but who it’s communicating with and who needs to be involved in the process. It’s just beautiful. Thank you all for being here today. Yeah. Anything else before we wrap up?
Tetine: No, but thank you, Jennifer. You’re a great visual communicator also, and I’m just really grateful for all the expertise you’ve brought to the story of the Public Health Resonance Project and the capacity to share it out as well. Those are skillsets I didn’t have and didn’t have access to either, and really have been grateful for that as well. Just thank you and again, for bringing us all together for this great opportunity. This is a great joy. It’s been a great joy to meet and a great joy to meet Rebecca, to have Esme here, who’s just been a joy as well. And Jennifer, thank you for all that you do for us as well. You also are a great joy!
A special thank you to my husband, Dr. Matthew M. Pincus, for his editing and storytelling support with this episode. If you need help with a video, reach out to him at [email protected]
If you’ve attended a professional show or musical recently, chances are you’ve seen virtual set design in action. This approach to stage production has gained so much traction it’s now a staple in the industry. After gaining momentum in professional theater, it has made its way into collegiate performing arts programs and is now emerging in K-12 productions as well.
Virtual set design offers a modern alternative to traditional physical stage sets, using technology and software to create immersive backdrops and environments. This approach unlocks endless creative possibilities for schools while also providing practical advantages.
Here, I’ll delve into three key benefits: increasing student engagement and participation, improving efficiency and flexibility in productions, and expanding educational opportunities.
Increasing student engagement and participation
Incorporating virtual set design into productions gets students excited about learning new skills while enhancing the storytelling of a show. When I first joined Churchill High School in Livonia, Michigan as the performing arts manager, the first show we did was Shrek the Musical, and I knew it would require an elaborate set. While students usually work together to paint the various backdrops that bring the show to life, I wanted to introduce them to collaborating on virtual set design.
We set up Epson projectors on the fly rail and used them to project images as the show’s backdrops. Positioned at a short angle, the projectors avoided any shadowing on stage. To create a seamless image with both projectors, we utilized edge-blending and projection mapping techniques using just a Mac® laptop and QLab software. Throughout the performance, the projectors transformed the stage with a dozen dynamic backdrops, shifting from a swamp to a castle to a dungeon.
Students were amazed by the technology and very excited to learn how to integrate it into the set design process. Their enthusiasm created a real buzz around the production, and the community’s feedback on the final results were overwhelmingly positive.
Improving efficiency and flexibility
During Shrek the Musical, there were immediate benefits that made it so much easier to put together a show. To start, we saved money by eliminating the need to build multiple physical sets. While we were cutting costs on lumber and materials, we were also solving design challenges and expanding what was possible on stage.
This approach also saved us valuable time. Preparing the sets in the weeks leading up to the show was faster, and transitions during performances became seamless. Instead of moving bulky scenery between scenes or acts, the stage crew simply switched out projected images making it much more efficient.
We saw even more advantages in our spring production of She Kills Monsters. Some battle scenes called for 20 or 30 actors to be on stage at once, which would have been difficult to manage with a traditional set. By using virtual production, we broke the stage up with different panels spaced apart and projected designs, creating more space for performers. We were able to save physical space, as well as create a design that helped with stage blocking and made it easier for students to find their spots.
Since using virtual sets, our productions have become smoother, more efficient, and more creative.
Expanding educational opportunities
Beyond the practical benefits, virtual set design also creates valuable learning opportunities for students. Students involved in productions gain exposure to industry-level technology and learn about careers in the arts, audio, and video technology fields. Introducing students to these opportunities before graduating high school can really help prepare them for future success.
Additionally, in our school’s technical theater courses, students are learning lessons on virtual design and gaining hands-on experiences. As they are learning about potential career paths, they are developing collaboration skills and building transferable skills that directly connect to college and career readiness.
Looking ahead with virtual set design
Whether students are interested in graphic design, sound engineering, or visual technology, virtual production brings countless opportunities to them to explore. It allows them to experiment with tools and concepts that connect directly to potential college majors or future careers.
For schools, incorporating virtual production into high school theater offers more than just impressive shows. It provides a cost-effective, flexible, and innovative approach to storytelling. It is a powerful tool that benefits productions, enriches student learning, and prepares the next generation of artists and innovators.
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When we imagine the future of America’s workforce, we often picture engineers, coders, scientists, and innovators tackling the challenges of tomorrow. However, the truth is that a student’s future does not begin in a college classroom, or even in high school–it starts in the earliest years of a child’s education.
Early exposure to science, technology, engineering, arts, and mathematics (STEAM) builds the foundation for critical thinking, collaboration, and creativity. Research indicates that children introduced to STEAM concepts before the age of eight are significantly more likely to pursue STEM-related fields later in life. Yet for too many children, especially neurodivergent learners and those in underserved communities, STEAM education comes too late or not at all. That gap represents a missed opportunity not only for those children, but also for the industries and communities that will rely on their talents in the future.
The missed opportunity in early education
In most school systems, STEAM instruction ramps up in middle school or high school, long after the formative years when children are naturally most curious and open to exploring. By waiting until later grades, we miss the chance to harness early curiosity, which is the spark that drives innovation.
This late introduction disproportionately affects children with disabilities or learning differences. These learners often benefit from structured, hands-on exploration and thrive when provided with tools to connect abstract concepts to real-world applications. Without early access, they may struggle to build confidence or see themselves as capable contributors to fields like aerospace, technology, or engineering. If STEAM employers fail to cultivate neurodivergent learners, they miss out on theirunique problem-solving skills, specialized strengths, and diverse thinking that drives true innovation. Beyond shrinking the talent pipeline, this oversight risks stalling progress in fields like aerospace, energy, and technology while weakening their competitive edge.
The result is a long-term underrepresentation of neurodivergent individuals in high-demand, high-paying fields. Without access to an early STEAM curriculum, both neurodivergent students and employers will miss opportunities for advancement.
Why neurodivergent learners benefit most
Neurodivergent learners, such as children with autism, ADHD, or dyslexia, often excel when lessons are tactile, visual, and inquiry-based. Early STEAM education naturally aligns with these learning styles. For example, building a simple bridge with blocks is more than play; it’s an exercise in engineering, problem-solving, and teamwork. Programming a toy robot introduces logic, sequencing, and cause-and-effect.
These types of early STEAM experiences also support executive functioning, improve social-emotional development, and build persistence. These are crucial skills in STEM careers, where theories often fail, and continued experimentation is necessary. Additionally, building these skills helps children see themselves as creators and innovators rather than passive participants in their education.
When neurodivergent children are given access to STEAM at an early age, they are not only better equipped academically but also more confident in their ability to belong in spaces that have traditionally excluded them.
Houston as a case study
Here in Houston, we recognize the importance of early STEAM education in shaping our collective future. As the world’s Energy Capital and a hub for aerospace innovation, Houston’s economy will continue to rely on the next generation of thinkers, builders and problem-solvers. That pipeline begins not in a university laboratory, but in preschool classrooms and afterschool programs.
At Collaborative for Children, we’ve seen this firsthand through our Collab-Lab, a mobile classroom that brings hands-on STEAM experiences to underserved neighborhoods. In these spaces, children experiment with coding, explore engineering principles, and engage in collaborative problem-solving long before they reach middle school. For neurodivergent learners in particular, the Collab-Lab provides an environment where curiosity is encouraged, mistakes are celebrated as part of the learning process, and every child has the chance to succeed. Additionally, we are equipping the teachers in our 125 Centers of Excellence throughout the city in practical teaching modalities for neurodivergent learners. We are committed to creating equal opportunity for all students.
Our approach demonstrates what is possible when early childhood education is viewed not just as childcare, but as workforce development. If we can prioritize early STEAM access in Houston, other cities across the country can also expand access for all students.
A national priority
To prepare America’s workforce for the challenges ahead, we must treat early STEAM education as a national priority. This requires policymakers, educators and industry leaders to collaborate in new and meaningful ways.
Here are three critical steps we must take:
Expand funding and resources for early STEAM curriculum. Every preschool and early elementary program should have access to inquiry-based materials that spark curiosity in young learners.
Ensure inclusion of neurodivergent learners in program design. Curricula and classrooms must reflect diverse learning needs so that all children, regardless of ability, have the opportunity to engage fully.
Forge stronger partnerships between early education and industry. Employers in aerospace, energy, and technology should see investment in early childhood STEAM as part of their long-term workforce strategy.
The stakes are high. If we delay STEAM learning until later grades, we risk leaving behind countless children and narrowing the talent pipeline that will fuel our nation’s most critical industries. But if we act early, we unlock not just potential careers, but potential lives filled with confidence, creativity and contribution.
Closing thoughts
The innovators of tomorrow are sitting in preschool classrooms today. They are building with blocks, asking “why,” and imagining worlds we cannot yet see. Among them are children who are neurodivergent–who, with the proper support, may go on to design spacecrafts, engineer renewable energy solutions, or code the next groundbreaking technology.
If we want a future that is diverse, inclusive, and innovative, the path is clear: We must start with STEAM education in the earliest years, for every child.
Dr. Melanie Johnson, Collaborative for Children
Dr. Melanie Johnson is the President & CEO of the Collaborative for Children.
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The annual global game design awards $20,000 in grand prizes for creative and impactful games that advance the UN Sustainable Development Goals
NEW YORK, NY — [NOV 10, 2025] — Games for Change (G4C), the leading nonprofit that empowers game creators and innovators to drive real-world change, today announced the kick off of the 2025- 2026 Games for Change Student Challenge, a global game design program inviting learners ages 10–25 years old to tackle pressing world issues that address the United Nations Sustainable Development Goals, through creativity, play, and purposeful design.
Now in its eleventh year, the Student Challenge has reached more than 70,000 students and almost 2,000 educators and faculty across 600cities in 91 countries, inspiring the creation of over 6,600 original student-designed games that connect learning to action. From November to April 2026, participants will design and submit games for consideration in regional and global competitions, with Game Jams taking place worldwide throughout the season.
“The G4C Student Challenge continues to show that when young people design games about real-world issues, they see themselves not just as players, but as problem solvers and changemakers,” said Arana Shapiro, Chief Operations and Programs Officer at Games for Change. “Through game design, students learn to think critically, collaborate, and build solutions with purpose. In a world shaped by AI and constant change, durable skills like problem solving, critical thinking, and game design will allow all learners to thrive in their communities and worldwide.”
This year, students will explore three new themes developed with world-class partners to inspire civic imagination and problem-solving:
Two grand-prize winners will receive a total of $20,000 in scholarships, generously provided by Take-Two Interactive and Endless. Winners and finalists will be celebrated at the Student Challenge Awards on May 28, 2026, in recognition of exceptional creativity, social impact, and innovation in student game design.
“With 3.4 billion players worldwide, the video games industry has an unprecedented ability to reach and inspire audiences across cultures and our next generation of leaders,” said Lisa Pak, Head of Operations at Playing for the Planet. “We’re excited about our collaboration with Games for Change, empowering students to use their creativity to spotlight the threats to reefs, rainforests, and our climate. Together, we’re transforming play into a powerful tool for awareness, education, and action.”
“More than 319 million people face severe hunger around the world today,” said Jessamyn Sarmiento, Chief Marketing Officer at World Food Program USA. “Through the ‘Outgrow Hunger’ theme, we’re giving the next generation a way to explore the root causes of food insecurity and imagine solutions through research, game design, and play. This collaboration helps students connect their creativity to one of the most urgent challenges of our time—ending hunger for good.”
Additionally, G4C is expanding its educator support with the launch of the G4C Learn website, the world’s largest online resource library featuring lesson plans, tutorials, and toolkits to guide students, teachers, and faculty on topics like game design, game-based learning, esports, career pathways, and more. In partnership with Global Game Jam, educators worldwide can receive funding, training, and support to host Student Challenge Game Jams in their classrooms and communities.
“Games turn learning into challenges students actually want to take on,” said Luna Ramirez, CTE teacher at Thomas A. Edison CTE High School based in New York City. “When students design games to tackle pressing global problems affecting their communities, they become curious about the world around them, experimenting, and bringing ideas to life. The best learning happens when students take risks, fail forward, and collaborate, and that’s exactly what the Games for Change Student Challenge empowers.”
Educators, parents, and learners ages 10–25 can now registerfor the 2026 Games for Change Student Challenge and access free tools and resources atlearn.gamesforchange.org.
Since 2004, Games for Change (G4C) has empowered game creators and innovators to drive real-world change through games and immersive media, helping people learn, improve their communities, and make the world a better place. G4C partners with technology and gaming companies, nonprofits, foundations, and government agencies to run world-class events, public arcades, design challenges, and youth programs. G4C supports a global community of developers using games to tackle real-world challenges, from humanitarian conflicts to climate change and education. For more information, visit: https://www.gamesforchange.org/.
