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Hi, I'm Jack W.!
What's great about having a tutor is that you can get the missing information you need so quickly!
I've been tutoring for almost 15 years now. I enjoy tutoring. I had some tutoring in reading and English grammar when I was 10. That tiny moment of time helped me to go on and do really big things later. Maybe the same will happen to you!
I've been a tutor for the City of San Diego for some years and have taught public school classes in 7th grade English and Art. I've been an instructor of art and advertising at two San Diego accredited art schools. I've also instructed a Business 101 course at Palomar College and, for eight years, I conducted computer graphics classes in the San Diego jail system!
Basically, I tutor classes related to writing, fine arts and advertising and promotions. This includes writing ads, letters, video scripting, news releases, speech writing, etc.; creating and producing graphic art (computer graphics, web page design, illustration, video shooting and editing, etc.) and classes for the fine art painting, drawing and art history (all periods) and art appreciation. I've passed WyzAnt's tests for Adobe Illustrator software, writing and general computer. I have a couple of college degrees, including an M.F.A. (Syracuse University).
To help the learning process, my office, centrally located in Clairemont, is set up as a studio/learning center/classroom that's equipped with a wide range of the latest computers; graphic, video, photo and business software (Mac and Windows); photo studio with cameras (digital SLRs and Video), lights, backgrounds and props; and subscriptions to online learning web sites such as Lynda.com. I use the office for tutoring, studio photography and to assist clients with advertising and public relations services which keeps me active and up to date on the latest changes.
I have been thanked many times by students for "caring" or for being able to explain things "in terms they can understand." Perhaps you'll give me the opportunity to earn your "thanks" as well.
Web sites do best when they offer some animation. Stand-alone movies must be started and are often so large they need to load and run in alternating phases of loading and playing. Flash allows the site developer to take vector objects like letters and make them move around on the screen. Flash can also be used for converting movies to good looking, but lower resolution, movies that run continuously.
I first begin by showing the student how to set up the "stage" (size it, select a background color, etc.). Next is how to enter text and import files and how to convert them for use in Flash. We then discuss the "library" and its icons and the drop-and-drag features. I then walk the student through the time line and keyframe procedures. We create a very simple flash file and convert it to a SWF file for use on the Internet.
At this point I ask the student to use different images and text to create his or her own file while I watch (and give clues if they get blocked or lost). Once this coaching session is done, the student is assigned a small project to do alone. Once this assignment has been completed successfully, I employ a variety of online and prerecorded demonstrations to help the student achieve the higher levels of quality and complexity that Flash can offer.
Adobe Illustrator is a great "vector" art program used for creating line-like designs such as logos, signage, ad layouts, etc.
I typically begin showing the student how to set up the document, including guideline and grid sizes. Then, with the goals of the student in mind, we proceed to layout the text and images on the page. This allows the student to start mastering the tools menu for creating lines, objects (boxes, stars, arrows, etc.), and many other elements including the use and shaping of type fonts.
For those wanting to use Illustrator as a technical drawing program, we set up the document according to a measuring scale that will work best for the object being designed (a window structure, floor layout, an engine part like a piston, or a complete mechanism with many parts, etc.) so that it can provide a tradesman (carpenter, carpet layer, etc.) or a manufacturer (plastics mold company, metal forming company, etc.) with all the required measurements and a "picture" of how the product should appear once assembled or manufactured. I also work with the student using Illustrator to take the diagram art and add surface textures, colors, highlights, reflections and other visual elements to recreate the final product as if were a real item, not just at drawing.
Illustrator works with other software programs like Photoshop, CorelDraw, Adobe AfterEffects and more. The student will learn more about how to use Illustrator with these programs as well.
InDesign is not too difficult to learn. It has features you'd find in Microsoft Word. Although its "window shade" approach is interesting and different. You have to adapt to putting everything in boxes, a factor that makes a page look a bit cluttered at times (about like Adobe Illustrator's pages looked like after clicking on the art with a curser). I initially begin covering where the InDesign files will be needed (in a magazine, newspaper, and other media that requires a printing press for its output). This affects the types of files that will be saved and how one can use vector and bitmapped imagery simultaneously. Setting up the page is important because the page's proportions act as the frame, where as a photo's image acts as the frame. The InDesign page also has to deal with large numbers of imbedded image files. Hence, it had lists of images and other photos. So when saving an InDesign file, one needs to "flight" the file, that is, to set up the page's elements in sets, so the that uploading the file is smooth.
Placing images into InDesign is similar to Photoshop. When out putting InDesign files, the program essentially is made tp convert the selected files to an RGB, bitmapped file.
A student familiar with the other software I've mentioned above will find InDesign a better looking page layout software than most. Because of its similarities with other software, it is some what easier to learn by experienced software artists.
As a computer Graphics instructor at the adult vocational level (hold California's highest certification as a vocational instructor) to the collegiate level, I've instructed 1500+ students in many of the Adobe creative suite software programs, including Photoshop.
I typically begin by ascertaining what the student knows about Photoshop and its relation to Adobe Illustrator, InDesign and Dreamweaver application software. This includes providing a student with a few "umbrella fundamentals" that they must know (vector versus bitmap, photo versus graphic imagery, visual versus verbal symbolism, publishing/printing versus website, etc.). I do this within 15-20 minutes by giving them a handout and reviewing each issue in the simplest of terms.
This first session continues with the fundamental steps of working with "selections" (of paths, of parts of images, and masking) and with "layers," the platforms of dividing work in layers that are set one upon the next. We then practice using the menus and commands associated with these core fundamentals of Photoshop (which tend to be the same most other graphic programs). Procedures learned include creating layers, selecting or modifying artwork on a layer, working with type fonts (selecting fonts, coloring fonts, adding shadows, beveling, etc.), transparency of layers, layer masks, "adjusting" images (levels, lightness, contrast, hue saturation, color balance and other adjustment commands). Here I walk them through an image as I demo the various commands and then have the student walk through using each the same commands as I observe and coach as needed.
The second session focuses on taking a second photographic image, and going beyond adjusting it to match what it looked like in real life by making it have more expressive characteristics (to make an angry person appear "really angry" by using the paint brush or "smudge tool" in the toolbox or to make the subject more beautiful and romantic, etc., by using the same commands learned in session one and adding "filters" like "blur" and "noise" and more. The student will also practice removing an object in the photo and replace it with another (like a street scene where the mailbox is removed on a corner and replaced by a small tree, fore example).
The third session covers how to save a psd file, optimize a psd file as jpg, png, pdf, tiff, or other bitmap file type for compression and use on the Internet. File sizes, archival media, transportation media are also discussed in detail. Pre-flighting a psd file and pre-press output settings are reviewed.
As these three, multi-hour sessions above provide a strong introduction to Photoshop that will allow the student to create work for others with a basic level of quality, continued practice at home with an occasional one-hour session or two will most likely be needed.
Of course, if someone has a background in Photoshop, these sessions will be only needed to help fill gaps in the student's understanding and may only take a few hours to complete.
I was granted a Master of Fine Arts degree (M.F.A.) from Syracuse University. This required that I first have earned a Bachelor of Fine Arts degree, a program where I attended over 575 semester hours in art history classroom instruction (lower and upper division classes and some graduate level classes). According to collegiate accreditation standards, and an additional 1800 hours of researching, studying, writing papers, and so forth is directly related to my taking these classes. My M.F.A. required successful completion of a series of seminars on aesthetics and selected topics that involved art history conducted by the Dean of the College of Fine Arts at Syracuse University. I received a 4.0 GPA in these seminars.
Art history is the essentially the relationship between artists and the cultural and materialistic influences of their time. The result is often "a style" that emerges as a dominant "look" or "feel" that seems to characterize the nature of "art" for that period or locale. I am prepared to discuss the aesthetics that are involved in any style, personal or of a period, and how they work together to create a style that has it's own unique and easily identifiable character.
There are many stylistic periods in art history. Some of the major ones are Pre-historic, Pre-Columbian, Egyptian, Greek, Roman, Byzantine, Gothic, Renaissance, Baroque, Romantic, Neo-Classic and what is now called the "modern era" that is represented by a series of relatively short-lived stylistic movements such as Impressionism, Post-Impressionism, Cubism, Expressionism, Abstract Expressionism, Dadaism, Pop Art, Opt Art and a few others. I am prepared to tutor students in any or all of these styles.
In a typical art history course, a survey study is made of each artistic period with an emphasis on significant individual artists of the period and a few of their key works that had an impact on their culture, generally in or just after their lifetime. I can assist students in understanding the artistic elements that influenced artists within their own period as well as the influence that these artists had on those who followed. Further, I can assist students recognize the aesthetic linkages that affected and/or inspired newer period styles.
There are art historians, critics and philosophers who have contributed to our understanding of the arts, but this information is categorized as "art theory" and is very important, but also very subjective in its discourse and conclusions. Therefore art theory is not typically covered in a very in-depth manner in many art history courses. If desired by the student, I can address issues of art theory.
Essentially, I can assist students having difficulty understanding the overall historic timeline and stylistic nature of each period's style, the influence any one period had upon an individual artist or group of artists of that time, the influence an artist had on his or her own period and how, with each succeeding period of time before the modern era, mankind's ability to hand craft works of art grew in sophistication.
In explaining the modern era where the art appears to become less sophisticated with each new generation, I can explain the art theory behind this phenomenon and speak about the key artists of each group such as the Impressionists, Expressionists, etc., and the signature aesthetics of the group style and key artists.
If a student being tutored to assure he or she learns the dates and times of each period and of each artist of a period, I can offer some tips and guidelines that enable better recall of the sequence of artists and succession of the period styles.
I was granted a Master of Fine Arts degree (M.F.A.) from Syracuse University. I lived in Paris for three years and visited the Louvre, Uffizi, and Prado art museums. I lived in New York city and over a period of years made multiple visits to the MOMA-NY, Whitney, Guggenheim, and Metropolitan museums of art. My fine art monoprints have been honored with cash awards and I'm an award-winning graphic designer as well (clients have included NCR, Lockheed, The Salk Institute, The Scripps Institute, General Atomic, Douglas Manchester, San Diego Magazine and more).
"Art theory" is a wide ranging topic involving theories of man's relationship with his artistic expressions via some medium (painting, sculpture, music, literature, cinema, digital media and more). There's a 35,000-year a record of existing works of art by humans upon which art historians and aesthetes have drawn a plethora of theories, promoted conclusions and established dramatic on-going debates. A theory in art can be as practical as "color theory" or as subjective as the debate over the validity of the illusionistic versus the abstract rendering of a painting. So question for students is: how to understand all this within a few short hours?
Essentially, to develop an understanding of "art theory" one must first do a great deal of reading — or have a tutor who has done so. I can say that over the past 45 years, I've read well over a thousand times that many pages in books by noted critical historians from centuries past to the present, well respected New York art critics seeking the root issues of modernist art (and, more recently, post-modernist art), over a hundred scientific articles based on studies indicating how our senses perceive and work with artistic data, a stack of anthologies of critical essays on art, and a mountain of magazine articles from Art Forum to Art News along with some quarterlies like New Criteria.
I understand a great deal about art theory. I can portray both its practical and subjective sides. I can also provide a few methodologies for remembering the key elements that "frame" any discussion of art theory.
I'm an award-winning graphic designer whose clients have included NCR, Lockheed, The Salk Institute, The Scripps Institute, General Atomic, Douglas Manchester Enterprises, San Diego Magazine and more. I've been creating graphics and photography in San Diego since 1976.
I've been employed as the Creative Services director for the Industrial Products Division of Hughes Aircraft Company. I also served five years as the Creative Services Director/Supervisor for CCN, a healthcare PPO (second only to Blue shield in California) until it was sold in 2007.
I've taught graphic art in the San Diego County Jail system for eight years and I've served as a tutor of art and writing for the City of San Diego for a period of 10 years.
I earned a Master of Fine Art degree from Syracuse University with an emphasis in Magazine Illustration. I served as the Collaborative Editor of "Contemporary Advertising," the leading college textbook on advertising in North America. I was responsible for writing and maintaining the creative chapters (creative process, advertising art and layout, graphic production and printing, etc). I served over a period of four editions (3-year cycle per edition). My name appears on the cover page of editions number five and six.
I currently operate two creative companies. Aesthmetrics is a marketing and graphics company where I create marketing and promotional programs and collateral materials (web sites, brochures, billboards, posters, mailers, etc.) for small and large businesses (aesthmetrics.com). Artistica Photography is a photography studio where I create refined photographic images for both commercial and personal use (artpho.com)
My studio features two Apple large screen iMacs, an 8-core Mac Pro, a quad-core Mac Pro, and a quad-core PC running Windows 7 — all for creating graphic and other digital art projects (photography, videography, and music production). I've used Apple computers since 1985, MS-Dos in 1978 and Windows machines at my places of employment since 1987.
When I was 9 years old, my teachers informed my parents of my unusual ability to draw well. I then was given private lessons at home for two years to develop my talent. In college I held a 3.8 grade level in my art classes. I have a Master of Fine Arts degree from Syracuse University in Mass Communications with an emphasis on "Illustration." I have since gone on to win cash awards and ribbons in juried art exhibitions for my hand rendered artworks. I have been invited to exhibit in a major art museum and have had a number of one-man exhibitions.
In the 1980s I was listed as a "contributing illustrator" on the masthead of San Diego Magazine. Today, I have an advertising graphics firm called Aesthmetrics and I've been employed as the creative services director for Hughes Aircraft Company and CCN (second largest PPO in California in 2002). More recently, I was hired by the Grossmont Union High School - Adult Program in San Diego as a graphics instructor, a position I held for eight years.
I have served as a Collaborative Editor for three editions of "Contemporary Advertising" where I not only wrote large sections of this 600-page college text book, but also prepared artwork as well.
I am skilled in hand drawing and painting. The subjects I prefer are birds, portraits, still life and landscape drawings (using pencil, ink pen and brush, charcoal, conte and chalks) and paintings (using water color and acrylics).
I am a skilled technical draftsman having taken a number of courses at the vocational level and enjoy using the classic technique of T-Square and Triangles. I have applied this skill in designing stage sets for live theatre performances.
I have completed technical ink drawings for government contracts and for aircraft repair manuals for the Air Force.
I have been complimented on my keen eye for detail and my ability to create expressive and powerful imagery.
I have been providing photography to the San Diego area since 1976 and currently own, operate, and am the senior photographer at a studio in San Diego. I photograph families at home and at the beach. Corporations and small businesses hire me to take individual and group staff photos, architectural sites (including their headquarters buildings), images of their people providing services and at sales conferences, promotional (exhibit booths, web site use, etc.) and publicity photos and product photography for advertising.
Web design involves creating artwork that is able to catch and hold the attention of the viewer and, in most cases, introduce and "sell" an idea, product or service.
I've been designing and publishing web sites for clients since 2002. I've began instructing website design (content, art and programming) with the County of San Diego and the Grossmont Union High School District Adult Program since 2005.
As an instructor with the County of San Diego, my students were very new to digital graphics, let alone web site programming. I have developed a method able to help beginners understand the value of html and CSS and how to use existing samples to create working websites. I feel this approach will work well in the tutoring environment, too.
Writing is the ability to scribe symbols, primarily letters and punctuation marks, in an organized manner (grammar) that effectively and efficiently transfers a message of value to readers. Because writing and reading are essentially linear with a start and an end, the writer must first line up or "string" all the symbols into a structure (syntax) that the reader can decipher. This is the most basic fundamental of writing.
Beginning level: The young typically must be made aware of, learn and practice how to construct sentences featuring the three basic elements of a sentence. From this we can develop all additional written structures (adjective modifiers, phrases, etc.) enough to support a level of complex symbol stringing. In addition, they must also attempt to increase their vocabulary. As a past English teacher in the public school system, I've learned how to show pre-teens (and older) how to properly construct "the basic sentence." How to recognize passive sentences. Then, I demonstrate how to use of proper punctuation to expand a sentence into a richer and more meaningful expression. I also help them learn the proper structure of a paragraph and how paragraphs can most effectively be strung together to create and an effective "essay" or a "chapter," etc. I am also capable of helping students learn how to discern between important details and those that are of less value.
Intermediate Writing Levels: As we leave childhood, we must learn how to identify and attempt to understand what we see and hear around us. And so it is with writing. One cannot write well or fast unless he or she can organize information and ideas. With pre-teens, I discuss, demonstrate and ask them to practice outlining before they write. With older teens and adult students, I first attempt to understand how well they organize their ideas. Then, according to their current skill level, we work on first organizing thoughts and, second, how to prioritize them into a pattern that can be presented in a linear fashion – two tasks that have plagued all writers. The next level of intermediate writing involves the nature of whom you are attempting to reach. This requires training in "formats" and "styles" of writing. For example, "Publicity" and "public relations" writing are different from one another and they're also different from "advertising" writing as well – even though all three share the same goal of attracting customers. Plus, all three employ writing methods that must use different sets of words to create their own flavor or "communication style." For example, if you want "buzz" or "hype," a "publicity" writing style (uses sound bites) can be easily prepared for reading on the web, heard and seen on the radio and TV. An "advertising" writing style is similar, but different. it's required to persuade, not just catch attention and inform. I teach primarily nonfiction writing styles like letter writing, essay and term papers, advertising and publicity writing for "hard news" and editorials (journalism),"soft news" (magazine), and "academic" (text book) styles of writing.
The Creative Writing Level: Creative writing, often considered the highest and most challenging of all forms of writing, typically involves the creation of fictional or historical novels, scripts (for short and feature-length films and stage plays), poetry, and short stories. The act of creative writing requires an understanding of what I call "unstringing," the breaking apart of concepts, actions, and sequences into patterns that must be reorganized and presented in a new way. It also requires some experience with life itself and a knack for writing winning dialog. At this level, I read the student's text, script, etc. and focus less on grammar and more on editing for content order, character development, images being created by words, story line, author's goals, and overall spirit and pacing of the work. I also reference examples in literature and film.
About My Writing Experience: I am not an expert at all these styles of writing, but I've established a successful career in the fields of promotional writing (advertising, publicity, public relations writing for publications, TV, radio and writing for public speakers). My experience also includes academic writing (Collaborative Editor for three editions of "Contemporary Advertising," the leading college textbook on advertising in North America). I have also created scripts for business to use in corporate videos, music videos, TV and radio ads. One of my journalistic writings was published in the New York Times (front page story in Section B).
Teaching Experience: I began my teaching career as a 7th grade public school teacher teaching English and Art. I have since instructed at Palomar College, the Advertising Arts College (now the Art Institute of San Diego) and with the Grossmont Union High School Adult Program and created an advertising curriculum for a trade school (Center for the Communication Arts).
Very Talented, Wise, Excellent With Young People — Jack is a multi-talented gentleman who is currently teaching my daughter Photoshop. He uses his vast experience in photography, graphic arts, fine art, and advertising in such a way as to make the lessons much richer than a standard 'How To' course. I would wholeheartedly recommend Jack as a tutor for any of these subjects and he is very willing to customize the lessons to fit any goals. ...
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