ACCD ViewBook

ART CENTER COLLEGE OF DESIGN / 20112012
ARTCENTER.EDU
Art Center invites you to learn more about our programs and the type of work our students create by using QR Codes found throughout this Viewbook. To access the information, scan the QR Code using an appropriate reader on your smartphone. If your phone doesnt already have one, we recommend installing 3GVisions i-nigma reader at i-nigma.mobi or the BeeTagg reader at beetagg.com. Dont have a smartphone? Weve compiled a directory of these QR Codes on our website at artcenter.edu/qrcodes. Art Center College of Design is accredited by the Western Association of Schools and Colleges (WASC), 985 Atlantic Avenue, Suite 100, Alameda, California, 94501, 510.748.9001; and by the National Association of Schools of Art and Design (NASAD), 11250 Roger Bacon Drive, Suite 21, Reston, Virginia 20190-5248, 703.437.0700. Access to Art Centers accreditation report is available through the Office of Academic Affairs. Publishers Note: Please note that course descriptions, faculty bios and our online application form can be accessed online at artcenter.edu.
Contents
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Presidents Message Introduction Why Los Angeles? Advertising Entertainment Design Environmental Design Film Fine Art Graphic Design Illustration Photography and Imaging Product Design Transportation Design Undergraduate Alumni Graduate Programs Graduate Art Graduate Broadcast Cinema Graduate Industrial Design Graduate Media Design Graduate Alumni Humanities and Design Sciences Integrated Studies Designmatters Public Programs Admissions Facilities and Resources 20102012 Calendar Index
005
Presidents Message
Welcome to an extraordinary opportunity. For 80 years, Art Center College of Design has been considered the most rigorous and creatively challenging art and design institution, both nationally and internationally. Our attitude is professional. Our expectations are high. If you are serious about pursuing a world-class art and design education, if you seek faculty mentors who are the finest experts in their fields, if you aspire to build a career based on the highest standards of professionalism and skill then Art Center could very well be the place for you. At Art Center, you will find a creative home, a community that will support your gifts and challenge you to grow through deep thought and dialogue. Issues resonant with a 21st century global perspective will inform your work. Our programs are centered on you and your development but also on being in and of the worldand on making a difference. Serving human need, the environment, or simply creating work that is unabashedly beautifulthese are our core values. Part of the Art Center experience is also about our location in Los Angelesnot just the home of a booming entertainment industry but also a complex and fascinating area in which to live. In addition to being an intensely beautiful place, the Los Angeles area offers a diverse creative community, deep cultural life, and it continues to be a place for pioneersthose more interested in the future than the past. Its a great place to be a student. Our alumni the world over sing the same refrain: An Art Center education will change your life. Theres never been a time, moreover, of greater demand for visual communicators, makers and storytellers. I am certain that the best of these will come from Art Center. I invite you to join us.
Lorne M. Buchman President
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To be an artist or designer is more than a career choice. It is a way of thinking and living. The experiences we create, the stories we tell, the products we build, the problems we solve, even the materials we usethese all make an impact and have the power to change lives. Todays global challenges call for people with ingenuity, integrity and creative vision, not to mention the technical skill to craft effective solutions. Art Center College of Design exists to educate the artists and designers who will fill these needs. Eighty years ago, we were founded by a group of individuals who believed in the power of connecting art to industry. They created a school where ambitious students studied a demanding curriculum that prepared them for the creative industries. Then, as now, Art Center was steadfast in the belief that this education should be substantive and comprehensive a way of looking at things in the biggest possible way. We aim to cultivate the complete creative individual.
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Art and design dont exist in a vacuum. At Art Center, we view the education of artists and designers as a holistic endeavor, where students go beyond pure aesthetics and technical expertise to think critically, intelligently and humanely about their practice and its effects on others. Our undergraduate, graduate and Public Programs all remarkably diverse in their areas of emphasis, methods of teaching and curriculastress this core sensibility while pushing students to create meaningful work. The fruits of their labor attract considerable attention, and our alumni are sought after by some of the worlds most influential studios, galleries, organizations and companies. Our campus is a magnet for prominent designers, artists, thinkers and scholars. Students learn from a faculty of more than 400 instructorsfilmmakers, photographers, painters, sculptors, illustrators and designers of every disciplinewho directly engage
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with the demands of todays creative environment and bring their knowledge, professional connections and independent thinking into our studios and classrooms. Students also have access to a distinguished array of guest lecturers and visiting artists.1
1. Our Big Picture Lecture Series, for example, attracts influential thinkers from around the world to discuss emerging cultural and political currents shaping art and design, as well as science, technology and philosophy.
Art Center students tackle real-world challenges and are quick to reimagine the status quo. Their determination and infectious creative energy are felt as soon as you step onto either our Hillside or South Campus. With leading-edge facilities and resources available to do everything from plein air painting to rapid 3D prototyping, students can create virtually anything they can conceive.2
2. Many students begin their journey through the Colleges Public Programs such as Saturday High or Art Center at Night, where they can explore the creative disciplines and build relevant skills.
As with most, if not all, creative communities, Art Center is home to many deeply held perspectives and opinionssometimes in opposition to one another and our faculty is no exception. Expect to encounter a wealth of challenging (and lively) discussions and debates.3 All faculty members share a determination
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to help students grow intellectually and socially, as well as in their studio practice.
3. Pie throwing contests occur on the third Tuesday of each month.
To help make this happen, our studios and classrooms are incubators for creativity and big ideas, inhabited by students and faculty who share a commitment and willingness to work hard. A steady emphasis on inquiry, research and risk-taking enables students to develop and refine their artistic voice or design sensibilities. Related liberal arts courses through our Humanities and Design Sciences Department further enrich this process. The emphasis on making remains a central focus, and students enjoy a full range of resources at their disposal.4
4. These include letterpress, printmaking and fine art studios, photo labs and film / photography stages, fabrication shops (including 3D Rapid Prototyping), and an exploration laboratory emphasizing colors, materials and trends (CMTEL). For a more complete list, see pages 208210.
Class size is kept small, enabling students to develop connections with their classmates as well as creative and mentoring relationships with their teachers. These ties often extend beyond the classroom and into professional life.
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Our approach combines the visionary with the practical, the ideal with reality. Classes, projects and even our academic calendar simulate the pace and demands of a professional work environment.5 Since our graduates must be prepared for a world where change is the norm, our educational philosophy emphasizes a curriculum that is rigorous and relevant. Students focus on a declared major from the very first day of classes with hands-on challenges and experiences, thus bypassing the typical foundation year structure found at most other art and design schools.6 Design firms and studios from around the world, including Apple, Electronic Arts, Pentagram and BMW Designworks, recognize the value of this approach and recruit students for internships and job openings.7 Our course content is based on the insider knowledge of our faculty, whose deep connections to their respective fields allow them to anticipate trends in the creative and business environments. This, in turn, contributes to an entrepreneurial spirit
5. Our year-round schedule, for example, enables students to select an accelerated course of study that allows them to graduate in less than three years. 6. The intense concentration on a majormore than 30 creditsallows students to fully explore and perfect their discipline. 7. Visit artcenter.edu/ internships for the most up-to-date listing.
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on campus, where a culture of problem seeking, in addition to problem solving, is the goal. The creative environment today increasingly requires artists and designers from discrete disciplines to work together. Our Transdisciplinary Studios (TDS) address this shift by giving upper-term students and faculty from different majors opportunities to collaborate on projects. A TDS might bring Film, Fine Art and Photography students together to investigate varying representations of the natural environment, while another might challenge Advertising, Graphic Design and Graduate Media Design students to create a multimedia branding and communications strategy. Whatever the project, our cross-disciplinary approach spurs new ways of thinking. Often, these studios are sponsored by industry partnersfrom major automakers to entertainment studios to nonprofits 8 giving students opportunities to engage specific fields while being mentored by leaders in art and design.
8. Recent educational partners include American Red Cross, Bernhardt, LG, Johnson & Johnson, Ford, Nestle, United Nations Childrens Fund (UNICEF), Volvo, Hewlett Packard and NASA.
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Our programs challenge students to consider the ethical dimensions of their practice as they prepare to enter the contemporary art and design arenas. Through Designmatters, a College-wide educational initiative and concentration in the curriculum, students can explore responsible business practices and the potential for art and design to be harnessed for social impact.9 Partnerships with nonprofits and governmental organizations like Doctors Without Borders, UNESCO and Architecture for Humanity give students opportunities to address some of the most pressing humanitarian and social challenges of our time.10
9. Art and design should have a conscience. 10. Innovative solutions developed by students include low-cost prototypes for Chileans living in campamentos and multimedia campaigns readying Californians for the next big earthquake. Learn more on pages 184185.
Our programs also consider the sum total of form, function and sustainability. In the classroom, for example, we offer academic and studio courses like Design for Sustainability that are open to all majors, where students are introduced to sustainability as a component of a comprehensive design process.11
11. Beyond the classroom, student groups like Eco-Council and Mustard promote sustainable practices on campus and helped shape the Colleges Zero-Waste Initiative.
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In addition, students are challenged to weigh the meaning of images in our image-intensive culture while considering the changing landscape of media and technology. As the worlds ideas, languages and cultures become more interconnected, our curriculum gives students the opportunity to address design challenges and explore artistic opportunities wherever and however they occur. Our perspective is global in scope and mindset. We have collaborative relationships with universities, organizations and governments abroad. Recently our students studies have taken them to London, Germany, China, France, Mexico, Singapore and Tokyo. Our programs attract many international students, and our location in the greater L.A. region places us at a crossroads of global culture. We understand that choosing your educational institution is one of the most important decisions you will ever make. Not only will it influence how you
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learn, experiment and grow as an artist or designer, but it will also shape the kind of human being you ultimately become. At Art Center, we foster a learning environment that will challenge you to fulfill your creative promise. In the process, you will become part of a creative community that values substance over style, while building lasting relationships with fellow students and facultyyour future colleagues.
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Why Los Angeles Angeles?
As one went to Europe to see the living past, so one must visit Southern California to observe the future. Alison Lurie
Pulitzer Prize-winning novelist
One of the worlds most innovative and culturally diverse metropolitan areas, Los Angeles is a great place to study art and design. In addition to its obvious physical beauty, L.A. is home to a concentration of creative minds and industries (from entertainment to automotive to design studios), a thriving art scene (some 350 galleries) and one of the nations strongest academic clusters (including Caltech, UCLA, the Claremont Colleges and USC). Maybe its the sunshine, but L.A.s reputation as a place that welcomes new ideas and experimentation attracts people from around the world. Anything is possible here. And in fact, L.A. is home to such revolutionary ideas as the Internet, Hot Wheels, the modern bathing suit, the Space Shuttle, the fortune cookie and the Aeron chair. L.A.s entrepreneurial culture is like no other in the world. Located just 10 miles from downtown L.A., Pasadena is a creative community in its own righthome to design studios and an impressive collection of art and cultural institutions including the Norton Simon Museum; the Huntington Library, Art Collection & Botanical Gardens; the Armory Center for the Arts; the Pacific Asia Museum; as well as world-renowned centers for science and aerospace like Caltech and NASAs Jet Propulsion Laboratory. Its variety of neighborhoods and architecture, from turn of the century to contemporary, provide a great housing resource for our students. The Citys pedestrian-friendly downtown, Old Pasadena, is lined with cafes, restaurants, shops and living spaces. Many Art Center students and alumni choose to live and launch their own studios and businesses here.
Left: Santa Monica Beach. Right: Frank Gehrys Walt Disney Concert Hall.
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GREATER L.A.
Advertising
WHY LOS ANGELES? HOME TO MAJOR AND BOUTIQUE AD AGENCIES LIKE M&C SAATCHI, DAVID AND GOLIATH, DEUTSCH, WONGDOODY, MCCANN-ERICKSON, TBWA / CHIAT / DAY, AND 72 AND SUNNY. WHY LOS ANGELES? LOS ANGELES HAS Good advertising elicits A WELL-ESTABLISHED COMMERCIAL PRODUCan emotion. Great advertising TION like a first date is moreINFRASTRUCTURE AND IS up in a long-term that ends A PRIME GLOBAL GATEWAY FOR relationship. EMERGING TECHNOLOGY AND TRENDS. James Wojtowicz
Interim Chair
In the last decade, advertising has transformed from a one-way communication platform that transpires across a few select media, to a two-way exchange that can instantaneously explode over countless media. While advertising methods may be in flux, one thing remains constantthe need for brands to connect with audiences on a basic human level. At Art Center, Advertising students are equipped with the knowledge of traditional forms of advertising while learning the latest advancements in new mediaall while solving problems in extraordinarily creative ways. In foundation classes, our students become fluent in the languages of advertising, including film, online video, digital photography, graphic and interactive design, social media and digital engagement. In later terms, students apply their skills to develop advertising campaigns, integrating traditional and non-traditional media to create powerful forms of communication. Our classes are taught by leading art directors and copywriters who not only understand where advertising has been, but who are helping to shape its future. Founded in 1930, our Advertising program is the oldest in the country, and our list of alumni reads like a Whos Who of the industry. Students work alongside product designers, filmmakers, interactive designers and more to develop new ways of thinking and explore how these disciplines inform and inspire one another. Nestled between the entertainment capital of the world and Silicon Valley, our location allows students to experience tectonic paradigm shifts moments after they happen. Also setting us apart are our connections to the professional world and our commitment to working in a socially conscientious way. Through Transdisciplinary Studios, The Agency and Designmatters, Advertising majors collaborate as they produce campaigns for real clients, many of which address the social, humanitarian and political causes that are most important to them.
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ADVERTISING FACULTY
Core Faculty Patrick Almaguer Felipe Bascope Enzo Cesario Lou Danziger Gary Huerta Blake Kidder Dennis Lee John Loper Erik Miller Mikio Osaki Faria Raji Elena Salij Nel Sant Gerard Seifert Paul Soady Koji Takai Barry Taylor Lee Tirce Scott Wilson James Wojtowicz, Interim Chair
VISIT US ON FLICKR TINYURL.COM/2FS3QE2
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Advertising
Good advertising elicits an emotion. Great advertising is more like a first date that ends up in a long-term relationship. James Wojtowicz
Interim Chair
In the last decade, advertising has transformed from a one-way communication platform that transpires across a few select media, to a two-way exchange that can instantaneously explode over countless media. While advertising methods may be in flux, one thing remains constantthe need for brands to connect with audiences on a basic human level. At Art Center, Advertising students are equipped with the knowledge of traditional forms of advertising while learning the latest advancements in new mediaall while solving problems in extraordinarily creative ways. In foundation classes, our students become fluent in the languages of advertising, including film, online video, digital photography, graphic and interactive design, social media and digital engagement. In later terms, students apply their skills to develop advertising campaigns, integrating traditional and non-traditional media to create powerful forms of communication. Our classes are taught by leading art directors and copywriters who not only understand where advertising has been, but who are helping to shape its future. Founded in 1930, our Advertising program is the oldest in the country, and our list of alumni reads like a Whos Who of the industry. Students work alongside product designers, filmmakers, interactive designers and more to develop new ways of thinking and explore how these disciplines inform and inspire one another. Nestled between the entertainment capital of the world and Silicon Valley, our location allows students to experience tectonic paradigm shifts moments after they happen. Also setting us apart are our connections to the professional world and our commitment to working in a socially conscientious way. Through Transdisciplinary Studios, The Agency and Designmatters, Advertising majors collaborate as they produce campaigns for real clients, many of which address the social, humanitarian and political causes that are most important to them.
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ADVERTISING
1 STUDENT MAX WANG TERM FOURTH TITLE SIX FLAGS SUPERMAN THE ESCAPE PRINT AD CLASS ADVERTISING CONCEPTS 2 INSTRUCTOR JOHN LOPEZ
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2 STUDENTS EUAN AU & MINDY BENNER TERM FIFTH TITLE DISCOVERY CHANNEL CLASS ADVERTISING LAB 1 INSTRUCTORS BLAKE KIDDER & PATRICK ALMAGUER 3 STUDENT DAVID STYLER TERM SIXTH TITLE TORO CORDLESS TRIMMERS AMBIENT AD CLASS ADVERTISING CONCEPTS 3 INSTRUCTOR SCOTT WILSON
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ADVERTISING
4 STUDENT LAUREN COFFIN TERM FIFTH TITLE METAMUCIL PRINT AD CLASS ADVERTISING LAB 1 INSTRUCTOR SCOTT WILSON PHOTOGRAPHY RILEY KERN
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5 STUDENT ERIK GONZALEZ TERM FIRST TITLE SCHOTT ZWIESEL UNBREAKABLE CRYSTAL PRINT AD CLASS COMM DESIGN 1 INSTRUCTOR LOU DANZIGER
030
ADVERTISING
6 STUDENT DAWN KIM TERM FIFTH TITLE CHIPOTLE RESTAURANT PRINT AD CLASS ADVERTISING LAB 2 INSTRUCTOR DENNIS LEE
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7 STUDENT JOHN FERRAL TERM FOURTH TITLE BUDGET GOURMET CLASS ADVERTISING CONCEPTS 1 INSTRUCTOR JOHN LOPER
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Course Requirements
3 3 3 3 3
ADVERTISING
TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive CUL-203 Hist of Advertising FND-102 Design 1 GPK / ILL / ADT FND-109 Communication Design 1 FND-111 Type 1: Adv Graphics TERM 2 PRP-200 Art of Research FND-152 Design 2: Structure & Color OR FND-158 Materials of Art & Design GPK-151 Type 2: Structure ADT-152 Art Direction 1 ADT-203 Visual Concepts ADT-302 Copy Concepts ADT-150 2nd Term Review TERM 3 CUL-220 Intro to Modernism CUL-235 Critical Practices GPK-202 Graphic Design 1 ADT-252 Art Direction 2 ADT-201 Advertising Concepts 1 FND-108 Basics of Photo
TERM 4 PRP-229 Branding Strategies GPK-302 Graphic Design 2 ADT-251 Advertising Concepts 2 ADT-253 Intro to Copywriting ADT-254 TV Concepts and Design ADT-250 4th Term Review TERM 5 ADT-303 Integrated Advertising GPK-201 Type 3: Context ADT-301 Advertising Concepts 3 TERM 6 ADT-375 Integrated AD 2: Digital ADT-376 Integrated AD 3: Non-Traditional ADT-371 Advertising Concepts 4 ADT-352 Advanced Copy Concepts ADT-350 6th Term Review TERM 7 * ADT-452 Portfolio Studio ADT-431 Advertising Concepts 5 TERM 8 * ADT-471 Advertising Concepts 6
3 3 3 3 3 0
3 3 3
3 3 3 3 3 0
3 3 3 3 0
3 3 3 3 3 3
3 3
Additional required elective units in Humanities and Design Sciences: Human Electives 6 Culture Electives 6 Material Environment Electives 9 Professional Practice Electives 6 Studio Elective Units 12 Total Required Units 135 * Studio electives will be added to schedule to meet studio requirements.
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Student Voices
ART CENTER COLLEGE OF DESIGN / 2011-2012
ONE OF MY INSTRUCTORS TOLD ME, GOOD ADVERTISING IS NOT WHAT YOU PUT IN, ITS WHAT YOU TAKE OUT. THAT ONE SENTENCE CHANGED MY WHOLE PERSPECTIVE.
MAX WANG TERM 4
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ADVERTISING
IVE ALWAYS LIKED TO MAKE RIDICULOUS THINGS, WHETHER ITS A GIANT SCULPTURE OF RAINN WILSONS HEAD OR AN OIL PORTRAIT OF RAPPER SOULJA BOY. I JUST LOVE COMING UP WITH FUNNY IDEAS. IF I CAN MAKE PEOPLE LAUGH, IM HAPPY. WHEN I FIRST MOVED TO L.A., I STARTED WORKING ON COMMERCIALS. FOR ONE SHOOT, I BURIED A GUY IN CEMENT MADE FROM OATMEAL. THAT TYPE OF HANDS-ON WORK WAS GREAT, BUT ONE DAY IT HIT ME THAT I SHOULD BE COMING UP WITH THE IDEAS. WHEN I VISITED ART CENTER, I KNEW THIS WAS WHERE I WANTED TO BE. THERE ARE ONLY NINE STUDENTS IN MY CLASS, BUT FOR SUCH A SMALL GROUP WE HAVE INCREDIBLE VARIETY. THE FACULTY HERE ARE OPEN-MINDED AND EASY TO TALK TO. THERES A MUTUAL RESPECT AND THEY HOLD YOU UP TO A HIGHER STANDARD. CAMMI UPTON TERM 1
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GREATER L.A.
Entertainment Design
WHY LOS ANGELES? ELECTRONIC ARTS, ACTIVISION BLIZZARD, THQ AND SONY ONLINE ENTERTAINMENT ALL HAVE STUDIOS IN THE AREA. WHY LOS ANGELES? 1923: THE WALT DISNEY COMPANY BEGINS IN THE REAR Entertainment Design is at OF A SMALL OFFICE OCCUPIED BY the visual the very heart of HOLLYVERMONT of TV shows, experience REALTY IN LOS commercials, video films,ANGELES. games, animation projects and theme parks.
Designing new worlds, characters and objects that have never before been seen requires great imagination, but also an understanding of how things are builtand how to communicate with the people who will build these new worlds. At Art Center, our Entertainment Design curriculum develops the skills and creative focus required of concept designers in the entertainment industry. Our department is relatively new, but Art Center alumni are leaders in the fields of animation, video games, film and television. Many work in the nearby hubs of those industries and bring their expertise into our classrooms as faculty and visiting lecturers. During their first four terms, students receive a rigorous education in drawing, rendering, model building and sculpting, as well as an introduction to 3D digital tools. The program concludes with a senior project focused on an area of particular artistic and professional interest. In years past, Art Center students seeking a career in entertainment design took a combination of Illustration and Industrial Design classes in order to develop their skills and portfolio. Today, our Entertainment Design program incorporates and expands upon the strengths of both of these disciplines. Our students also have the opportunity to collaborate with colleagues from other College departments through Transdisciplinary Studios and Designmatters projects, where they apply their skills for commercial and nonprofit causes.
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ENTERTAINMENT DESIGN FACULTY ADVERTISING
Core Faculty Chris Ayers Fridolin Beisert Thomas Bertling Reynaldo Bustos Kevin Chen Ricardo Delgado Scott Drake Mark Goerner Patrick Hanenberger Chris Howe Robert Kato Richard Keyes Hong Ly Paul Lasaine Luc Mayrand Gary Meyer Emil Mitev Nicholas Pugh Christian Schellewald Christian Scheurer Farzad Varahramyan Michael Yamada
IVE ALWAYS LIKED TO MAKE RIDICULOUS THINGS, WHETHER ITS A GIANT SCULPTURE OF RAINN WILSONS HEAD OR AN OIL PORTRAIT OF RAPPER SOULJA BOY. I JUST LOVE COMING UP WITH FUNNY IDEAS. IF I CAN MAKE PEOPLE LAUGH, IM HAPPY. WHEN I FIRST MOVED TO L.A., I STARTED WORKING ON COMMERCIALS. FOR ONE SHOOT, I BURIED A GUY IN CEMENT MADE FROM OATMEAL. THAT TYPE OF HANDS-ON WORK WAS GREAT, BUT ONE DAY IT HIT ME THAT I SHOULD BE COMING UP WITH THE IDEAS. WHEN I VISITED ART CENTER, I KNEW THIS WAS WHERE I WANTED TO BE. THERE ARE ONLY NINE STUDENTS IN MY CLASS, BUT FOR SUCH A SMALL GROUP WE HAVE INCREDIBLE VARIETY. THE FACULTY HERE ARE OPEN-MINDED AND EASY TO TALK TO. THERES A MUTUAL RESPECT AND THEY HOLD YOU UP TO A HIGHER STANDARD. CAMMI UPTON TERM 1
VISIT US ON FLICKR TINYURL.COM/32RMKMA
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Entertainment Design is at the very heart of the visual experience of TV shows, films, commercials, video games, animation projects and theme parks.
Designing new worlds, characters and objects that have never before been seen requires great imagination, but also an understanding of how things are builtand how to communicate with the people who will build these new worlds. At Art Center, our Entertainment Design curriculum develops the skills and creative focus required of concept designers in the entertainment industry. Our department is relatively new, but Art Center alumni are leaders in the fields of animation, video games, film and television. Many work in the nearby hubs of those industries and bring their expertise into our classrooms as faculty and visiting lecturers. During their first four terms, students receive a rigorous education in drawing, rendering, model building and sculpting, as well as an introduction to 3D digital tools. The program concludes with a senior project focused on an area of particular artistic and professional interest. In years past, Art Center students seeking a career in entertainment design took a combination of Illustration and Industrial Design classes in order to develop their skills and portfolio. Today, our Entertainment Design program incorporates and expands upon the strengths of both of these disciplines. Our students also have the opportunity to collaborate with colleagues from other College departments through Transdisciplinary Studios and Designmatters projects, where they apply their skills for commercial and nonprofit causes.
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ENTERTAINMENT DESIGN
1 STUDENT DANNY GARDNER TERM FOURTH TITLE STREET SWEEPER CLASS VISCOM 4 INSTRUCTOR SCOTT ROBERTSON
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2 STUDENT ANNIS NAEEM TERM FOURTH TITLE RACER CLASS VISCOM 4 INSTRUCTOR SCOTT ROBERTSON
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3 STUDENT ALBERT NG TERM SIXTH TITLE WHITES PLAYROOM CLASS ARCHITECTURE 2 INSTRUCTORS FARZAD VARAHRAMYAN & LUC MAYRAND
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4 STUDENT JOHN PARK TERM SIXTH TITLE CALL OF DUTY CLASS ARCHITECTURE 2 INSTRUCTORS FARZAD VARAHRAMYAN & LUC MAYRAND
040
5 STUDENT ROBERT SIMONS TERM FOURTH TITLE BIONICLE CLASS VISCOM 4 INSTRUCTOR SCOTT ROBERTSON
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6 STUDENT LIANNA TAI TERM SIXTH TITLE FOREST CREATURE CLASS CHARACTER 2 INSTRUCTOR CHRIS AYERS
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Course Requirements
3 3 3 3 2 2 3
TERM 1 ENT105 Design Process 1: Form & Space ENT112 Design Fundamentals 1 ENT102 Vis Comm Fundamentals 1 ENT103 3D Fundamentals 1 ENT100 Study Models ENT114 Way Things Work HMN100 Writing Studio OR HMN101 Writing Studio Intensive TERM 2 ENT100 Digital Design 1 ENT165 Design Fundamentals 2 ENT151 Design Process 2 ENT152 Vis Comm Fundamentals 2 ENT153 3D Fundamentals 2 PRP200 Art of Research OR PRP201 Art of Research TERM 3 ENT206 Advanced Perspective ENT202 Vis Comm 3: Photoshop Rendering ENT201 Creative ID Process ENT207 Imaginatomy CUL220 Intro to Modernism ENT200 3rd Term Review
TERM 4 ENT203 Analytical Figure Drawing ENT259 Digital Landscape ENT251 Vis Comm 4: Advanced Material Indication ENT254 Costume Design CUL325 History of Entertainment Design TERM 5 ENT320 Vis Comm 5: Rendering ENT310 Character Design 1 ENT312 Architecture Design 1 ENT306 Color Theory for Entertainment HMN321 Narrative Strategies MAT205 Theory of Structure TERM 6 ENT364 Vis Comm 6: Dramatic Narrative ENT367 Character Design 2 ENT366 Architecture Design 2 ENT356 Visual Development HMN202 Human Factors & Design Psychology ENT350 6th Term Review TERM 7 ENT400 Vis Comm 7: Speed & Advanced Rendering Techniques ENT402 Vehicles and Props ENT409 Visual Storytelling ENT406 Originality in Design PRP203 Business 101 TERM 8 *
3 3 3 3 3
3 3 3 3 3 3
3 3 3 3 3 3
3 3 3 3 3 0
3 3 3 3 3 0
3 3 3 3 3
Studio Elective 2 ENT450 Advanced Entertainment Design 3 ENT471 Entertainment Senior Project 3 Additional required elective units in Humanities and Design Sciences: Human Electives 3 Culture Electives 3 Material Environment Electives 9 Professional Practice Electives 6 Total Required Units 144 * Studio electives will be added to schedule to meet studio requirements.
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Student Voices
I USED TO BELIEVE THAT ARTISTIC TALENT COULD NOT BE TAUGHT; IT WAS SOMETHING YOU ARE BORN WITH. AFTER ATTENDING ART CENTER, I NOW KNOW THAT ISNT ENTIRELY TRUE. THERE IS A LOT OF LEARNING AND DEVELOPING TO BE DONE HERE IF YOU PUT YOUR MIND TO IT.
ELAD TIBI TERM 8
044
I CHOSE ENTERTAINMENT DESIGN BECAUSE ITS THE THINKING SIDE OF DESIGN; ITS MORE ABOUT COMING UP WITH THE IDEAS THAN THE FINISHED PRODUCT. ENTERTAINMENT DESIGNERS MUST DEVELOP A SOLID IDEA, BUT ALSO BE ABLE TO MESH THAT IDEA WITH ANY OTHER WORK THAT HAS ALREADY GONE INTO A PROJECT. I WANT MY IDEAS TO TAKE ME SOMEWHERE, MAKING A WAY FOR MY ART. ID LIKE TO BE THE PERSON WHO DESIGNS THE LOOK AND FEEL OF A STORY, NOT SOMEONE WHO CARRIES ON ANOTHERS LEGACY. I KNEW ENTERTAINMENT DESIGN WAS FOR ME BECAUSE IT COINCIDES WELL WITH MY DESIRE TO CREATE A VIDEO GAME AND AN ENTIRE WORLD TO GO ALONG WITH IT. REBECCA BLAKE TERM 4
ARTCENTER.EDU
GREATER L.A.
Environmental Design
WHY LOS ANGELES? THE CITY INCLUDES NUMEROUS ARCHITECTURAL TREASURES FROM THE LIKES OF FRANK LLOYD WRIGHT, R. M. SCHINDLER, FRANK GEHRY, RICHARD MEIER, JOHN LAUTHNER AND RICHARD NEUTRA.
Environmental Design is WHY LOS ANGELES? HOME TO CUTTING EDGE a human-centered discipline ARCHITECTURAL AND that is focused on the design FURNITURE DESIGN of a users total experience. STUDIOS INCLUDING We span the creative environGREG LYNN, ment between spatial, object CORY GROSSER DESIGN, and emotional communication. DAVID HERTZ, BALL-NOGUES, David Mocarski MARMOL RADZINER, Department Chair RIOS CLEMENTI HALE STUDIOS AND SAMI HAYEK DESIGN.
Art Centers Environmental Design Department focuses on the design of the total spatial experiencefrom the first moment of encounter to the last moment of interaction. We believe that the strength of a projects message is based on the power of the story content and context that it defines, the interaction it creates, and the emotional interface that it accomplishes. Environmental Design students learn to look at projects as complete emotional experiences. They learn to consider the whole as well as the partsnot just the chair. We approach design from the inside out. By understanding the emotional outcome or need, we are able to craft a stronger message to drive the context of the project. Our students tackle a broad spectrum of projects including: branded retail sites, theme restaurants, exhibition design and residential spaces. We focus on delivering effective, inclusive environments using sustainable materials and manufacturing practices. Environmental Design students develop a global sense of design that investigates where and how people live, work and playas well as a passion for designing not just what goes inside the box, but rethinking where and why the box exists. They explore new ways to blend technology and humanity to enhance ergonomics, simplify use and create emotional impact. Projects vary in scale from a single piece of furniture to a complete experience. Through Transdisciplinary Studios, often sponsored by corporate clients, and Designmatters projects on behalf of humanitarian organizations, our students are able to apply their skills for commercial and nonprofit causes. We intend to show that by having a strong grasp of design history, an astute awareness of present design trends and a long gaze to the future, environmental designers can contribute to the way in which future design interfaces, supports and drives our culture.
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ENVIRONMENTAL DESIGN FACULTY ENTERTAINMENT DESIGN
Core Faculty Rob Ball Daniel Gottlieb Penny Herscovitch James Meraz Emil Mertzel David Mocarski, Chair Faculty Julka Almquist Ania Borysiewicz Cody Clark Susan Clark Frank Clementi Gloria Fowler Cory Grosser Sami Hayek Oliver Hess Sherry Hoffman Bob Hunt Benjamin Luddy Ali Modarres Yo Oshima Jason Pilarski Jennifer Silbert
I CHOSE ENTERTAINMENT DESIGN BECAUSE ITS THE THINKING SIDE OF DESIGN; ITS MORE ABOUT COMING UP WITH THE IDEAS THAN THE FINISHED PRODUCT. ENTERTAINMENT DESIGNERS MUST DEVELOP A SOLID IDEA, BUT ALSO BE ABLE TO MESH THAT IDEA WITH ANY OTHER WORK THAT HAS ALREADY GONE INTO A PROJECT. I WANT MY IDEAS TO TAKE ME SOMEWHERE, MAKING A WAY FOR MY ART. ID LIKE TO BE THE PERSON WHO DESIGNS THE LOOK AND FEEL OF A STORY, NOT SOMEONE WHO CARRIES ON ANOTHERS LEGACY. I KNEW ENTERTAINMENT DESIGN WAS FOR ME BECAUSE IT COINCIDES WELL WITH MY DESIRE TO CREATE A VIDEO GAME AND AN ENTIRE WORLD TO GO ALONG WITH IT. REBECCA BLAKE TERM 4
VIEW MORE STUDENT WORK TINYURL.COM/2A9YNSY
ARTCENTER.EDU
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Environmental Design is a human-centered discipline that is focused on the design of a users total experience. We span the creative environment between spatial, object and emotional communication. David Mocarski
Department Chair
Art Centers Environmental Design Department focuses on the design of the total spatial experiencefrom the first moment of encounter to the last moment of interaction. We believe that the strength of a projects message is based on the power of the story content and context that it defines, the interaction it creates, and the emotional interface that it accomplishes. Environmental Design students learn to look at projects as complete emotional experiences. They learn to consider the whole as well as the partsnot just the chair. We approach design from the inside out. By understanding the emotional outcome or need, we are able to craft a stronger message to drive the context of the project. Our students tackle a broad spectrum of projects including: branded retail sites, theme restaurants, exhibition design and residential spaces. We focus on delivering effective, inclusive environments using sustainable materials and manufacturing practices. Environmental Design students develop a global sense of design that investigates where and how people live, work and playas well as a passion for designing not just what goes inside the box, but rethinking where and why the box exists. They explore new ways to blend technology and humanity to enhance ergonomics, simplify use and create emotional impact. Projects vary in scale from a single piece of furniture to a complete experience. Through Transdisciplinary Studios, often sponsored by corporate clients, and Designmatters projects on behalf of humanitarian organizations, our students are able to apply their skills for commercial and nonprofit causes. We intend to show that by having a strong grasp of design history, an astute awareness of present design trends and a long gaze to the future, environmental designers can contribute to the way in which future design interfaces, supports and drives our culture.
ARTCENTER.EDU/ENVL
046
ENVIRONMENTAL DESIGN
1 STUDENT LAWRENCE KIM TERM THIRD TITLE MAMMATUS CLASS ENVIRONMENTAL DESIGN 3 INSTRUCTOR CARLOS FERREIRA
ARTCENTER.EDU
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2 STUDENTS SNOW DONG, MALEK IDRISS, TIM MEYER & JAMIE KIM TERM EIGHTH TITLE SENIOR SHOW INSTALLATION SUMMER 2010 CLASS SENIOR STUDIO & PORTFOLIO PRESENTATION INSTRUCTORS JAMES MERAZ, ROB BALL & GLORIA FOWLER 3 STUDENT LAWRENCE KIM TERM SECOND TITLE ACTIVE INGREDIENT CLASS ENVIRONMENTAL DESIGN 2 INSTRUCTORS PENNY HERSCOVITCH & DAN GOTTLIEB
ARTCENTER.EDU/ENVL
048
4 STUDENT INIMFON ARCHIBONG TERM SIXTH TITLE SWIRL CLASS COOL STOOLS TOPIC STUDIO INSTRUCTORS DAVID MOCARSKI & CORY GROSSER 5 STUDENT SNOW DONG TERM EIGHTH TITLE STEP-LINK CLASS SENIOR STUDIO & PORTFOLIO PRESENTATION INSTRUCTORS JAMES MERAZ & GLORIA FOWLER
ARTCENTER.EDU
049
6 STUDENTS HAEWON KIM, J. KIM & BOHEE PARK TERM FIFTH TITLE MASS TRANSPORT 2 CLASS SUSTAINABILITY STUDIO INSTRUCTOR JAMES MERAZ
ARTCENTER.EDU/ENVL
050
7 STUDENT TIM MEYER TERM EIGHTH TITLE JILBE INN CLASS SENIOR STUDIO & PORTFOLIO PRESENTATION INSTRUCTORS JAMES MERAZ, ROB BALL & GLORIA FOWLER
ARTCENTER.EDU
051
8 STUDENT LEIGH ANNE KOBE TERM FIFTH TITLE TOWER ZERO CLASS SUSTAINABILITY STUDIO INSTRUCTOR JAMES MERAZ 9 STUDENT JEREMY TAYLOR TERM SECOND TITLE REX CLASS ENVIRONMENTAL DESIGN 2 INSTRUCTORS PENNY HERSCOVITCH & DAN GOTTLIEB 8
ARTCENTER.EDU/ENVL
052
Course Requirements
3 3 3 3 3 3
TERM 1 ENV-102 Environmental Design 1 ENV-101 Digital Process 1 ENV-235 Visual Communication 1 ENV-103 Design Lab 1 ENV-104 Materials and Making HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive TERM 2 ENV-152 Environmental Design 2 ENV-151 Digital Process 2 ENV-265 Visual Communication 2 ENV-153 Design Lab 2 PRP-229 Branding Strategies PRP-201 Art of Research OR PRP-200 Art of Research TERM 3 ENV-202 Environmental Design 3 ENV-201 Digital Process 3 ENV-203 Design Lab 3 CUL-220 Intro to Modernism MAT-203 Illumination: Lighting CUL-206 History & Theory of Space
TERM 4 ENV-252 Environmental Design 4 ENV-253 Structure Interior Arch ENV-271 Design Lab 4 ENV-251 Digital Process 4 MAT-205 Theory of Structure HMN-202 Human Factors & Design Psych ENV-250 4th Term Review TERM 5 ENV-254 Sustainability Studio ENV-302 Portfolio Studio TDS Transdisciplinary Studio MAT-313 Design for Sustainability CUL-341 History & Theory of Space 2 ENV-310 Topic Studio TERM 6 * ENV-352 Experience Design ENV-310 Topic Studio ENV-311 Digital Process 5
3 3 3 3 3 3 0
3 3 3 3 3 3
3 3 3 3 3 3
3 3 3 3 3 3
3 3 3
TERM 7 ENV-404 Degree Project: Development 3 ENV-310 Topic Studio 6 TDS Transdisciplinary Studio 3 TERM 8 * 3 ENV-453 Degree Project: Studio ENV-452 Portfolio & Presentation 3
ARTCENTER.EDU
053
Student Voices
I BELIEVE THAT THE DESIGN PROCESS NEVER TRULY STOPS. THERE IS ALWAYS ROOM FOR GROWTH AND IMPROVEMENT. EVEN AFTER A SPACE OR PRODUCT IS COMPLETED, IT IS THEN LEFT TO THE USER TO CONTINUE THE NARRATIVE AND FUNCTION.
OLIVIA PADEN TERM 8
ARTCENTER.EDU/ENVL
054
I INITIALLY CAME TO ART CENTER THINKING THAT I WOULD BECOME THIS AMAZING ILLUSTRATOR. I SOON REALIZED THAT MY CALLING WAS ACTUALLY IN THREE-DIMENSIONAL DESIGN, AND EXPLORING HOW TO PLAY WITHIN THAT SPACE. AFTER REALIZING THIS, I WAS NO LONGER LIMITED TO A PIECE OF PAPER WITH A DEFINED FRONT AND A BACK. I IMMEDIATELY CHANGED MY MAJOR TO ENVIRONMENTAL DESIGN. SINCE THEN, IVE HAD A TREMENDOUS EXPERIENCE OF RAPID PERSONAL GROWTH. I HAVE LEARNED SO MUCH IN SUCH A SHORT AMOUNT OF TIME. IVE FALLEN IN LOVE WITH GRAPHIC DESIGN, ENVIRONMENTAL DESIGN AND MULTIPLE FORMS OF ILLUSTRATION. IVE GROWN TO UNDERSTAND THE IDEA OF PROFESSIONALISM, WHICH IS OFTEN EASIER SAID THAN DONE. ART CENTER HAS TAUGHT ME TO BE PUNCTUAL, PROFESSIONAL, INNOVATIVE AND ESSENTIALLY A LEADER IN DESIGN. LAWRENCE KIM TERM 4
ARTCENTER.EDU
GREATER L.A.
Film
WHY LOS ANGELES? SIX MAJOR MOTION PICTURE STUDIOS CALL L.A. HOME PARAMOUNT PICTURES, SONY, 20TH CENTURY FOX, WARNER BROTHERS, UNIVERSAL PICTURES AND WALT DISNEY STUDIOS PLUS COUNTLESS INDEPENDENT PRODUCERS. Art Center educates filmmakWHY LOS the technological ers in both ANGELES? EVEN IN THESE of motion and narrative skills CHALLENGING ECONOMIC pictureswhether theyre TIMES, LOStheater screen, aimed for the ANGELES REMAINS THEor anything an iPod screen ENTERTAINMENT CAPITAL in between. OF THE WORLD, WITH THE LARGEST NUMBER Ross LaManna OF SHOW BUSINESS Department Chair JOBS RIGHT HERE IN SOUTHERN CALIFORNIA.
In a rapidly changing entertainment industry, emerging filmmakers must be daring, entrepreneurial and dedicated. Above all, they must be visual storytellers. Every aspect of Art Centers Film curriculum focuses on the mastery of movie-making skills in order to serve the narrative. Located minutes from Disney, Warner Bros., NBC Universal, ABC, Paramount and the Burbank Media District, our department enjoys an unusually high percentage of accomplished filmmakers on our faculty roster. Students begin shooting immediately, with access to HD, 16mm, 35mm and the latest digital post-production tools. Class sizes are small, fostering close, mentoring relationships between instructor and student. We host several guest lectures by studio heads and A-list filmmakers each term. Students specialize in one of three trackscinematography, directing or editingand frequently collaborate with students from other disciplines. Our architecturally striking campus, on a wooded hillside above Pasadenas Rose Bowl, is an ideal place for location shooting. We have private editing suites, surround-sound recording and mixing studios, multi-computer labs available 24 hours, a 5,000-squarefoot stage with a cyclorama and green-screen digital compositing equipment. Our program imparts a thorough understanding of the entire filmmaking process, giving our students the skills and confidence to succeed, whether they go on to work for the studios and networks, independently or in emerging media.
ARTCENTER.EDU
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FILM FACULTY
Core Faculty Affonso Beato, ASC, ABC Stephen Berkman Monte Bramer Brian Carter John Chambers Jeremiah Chechik Dean Cundey, ASC Allen Daviau, ASC Doug Eboch Michael Gottlieb Andrew Harlow Howard Heard Victoria Hochberg David Kellogg Ross LaManna, Chair Matt LaPoint Jonas Mayaab Dennis McCarthy Senator Michaels Kelley Micuda Natalija Nogulich Stephanie Nash Ron Osborn Dan Perri Richard Pearce Earl Rath, ASC Charles Rose Lee Rosenbaum, Esq. Brad Saunders I INITIALLY CAME Sherman Eric TO ART CENTER THINKING THAT I WOULD Karl Shields AMAZING ILLUSBECOME THIS ILLUS TRATOR. I SOON REALIZED THAT MY CALLING Aaron Sowd WAS ACTUALLY IN THREE-DIMENSIONAL DESIGN, Ming Tai AND EXPLORING HOW TO PLAY WITHIN THAT Ron Underwood SPACE. AFTER REALIZING THIS, I WAS NO Billy Weber
LONGER LIMITED TO A PIECE OF PAPER WITH A DEFINED FRONT AND A BACK. I IMMEDIATELY CHANGED MY MAJOR TO ENVIRONMENTAL DESIGN. SINCE THEN, IVE HAD A TREMENDOUS EXPERIEXPERI ENCE OF RAPID PERSONAL GROWTH. I HAVE LEARNED SO MUCH IN SUCH A SHORT AMOUNT OF TIME. IVE FALLEN IN LOVE WITH GRAPHIC DESIGN, ENVIRONMENTAL DESIGN AND MULTIPLE FORMS OF ILLUSTRATION. IVE GROWN TO UNDERSTAND THE IDEA OF PROFESSIONALISM, WHICH IS OFTEN EASIER SAID THAN DONE. ART CENTER HAS TAUGHT ME TO BE PUNCTUAL, PROFESSIONAL, INNOVATIVE AND ESSENTIALLY A LEADER IN DESIGN. LAWRENCE KIM TERM 4
VIEW AWARD-WINNING FILMS VIMEO.COM/13707478
ARTCENTER.EDU
055
Film
Art Center educates filmmakers in both the technological and narrative skills of motion pictureswhether theyre aimed for the theater screen, an iPod screen or anything in between. Ross LaManna
Department Chair
In a rapidly changing entertainment industry, emerging filmmakers must be daring, entrepreneurial and dedicated. Above all, they must be visual storytellers. Every aspect of Art Centers Film curriculum focuses on the mastery of movie-making skills in order to serve the narrative. Located minutes from Disney, Warner Bros., NBC Universal, ABC, Paramount and the Burbank Media District, our department enjoys an unusually high percentage of accomplished filmmakers on our faculty roster. Students begin shooting immediately, with access to HD, 16mm, 35mm and the latest digital post-production tools. Class sizes are small, fostering close, mentoring relationships between instructor and student. We host several guest lectures by studio heads and A-list filmmakers each term. Students specialize in one of three trackscinematography, directing or editingand frequently collaborate with students from other disciplines. Our architecturally striking campus, on a wooded hillside above Pasadenas Rose Bowl, is an ideal place for location shooting. We have private editing suites, surround-sound recording and mixing studios, multi-computer labs available 24 hours, a 5,000-squarefoot stage with a cyclorama and green-screen digital compositing equipment. Our program imparts a thorough understanding of the entire filmmaking process, giving our students the skills and confidence to succeed, whether they go on to work for the studios and networks, independently or in emerging media.
ARTCENTER.EDU/FILM
056
FILM
1 INSTRUCTOR ALLEN DAVIAU, ASC, & ART CENTER FILM STUDENT SEAN NALABOFF ON SET OF A CLASS PRODUCTION. 2 AN ART CENTER FILM STUDENT MIXES HER PROJECT IN ONE OF OUR 10 PRIVATE EDITING SUITES. 3 ART CENTER FILM STUDENTS PREP A SHOT ON FILM STAGE 2. 1
ARTCENTER.EDU
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4 STUDENTS: DIRECTOR TOM LEE PRODUCER ROMSON NIEGA CINEMATOGRAPHER JEREMY M. LUNDBORG SOUND DESIGN DAN BARTOLUCCI TITLE GATORADE COMMERCIAL CLASS CINEMATOGRAPHY 5 INSTRUCTOR AFFONSO BEATO, ASC 5 STUDENTS: DIRECTOR DARINE HOTAIT CINEMATOGRAPHER CHRIS SAUL TITLE THE FAR SIDE OF LAUGHTER CLASS FILM WORKSHOP 2 INSTRUCTOR ERIC SHERMAN
ARTCENTER.EDU/FILM
058
FILM
6 STUDENTS: DIRECTOR CHRIS BUONGIORNO CINEMATOGRAPHY PARKER TOLIFSON PRODUCTION DESIGNER BRIAN THOMAS BARNHART TITLE EMERGENCY BROADCAST MECHANICAL HANDS ELECTRIC HEART CLASS PORTFOLIO PRODUCTION INDEPENDENT STUDY INSTRUCTOR JEREMIAH CHECHIK AWARD COLLEGE TELEVISION EMMY AWARD
ARTCENTER.EDU
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7 STUDENT: DIRECTOR AARON SJOGREN TITLE UNTITLED CLASS DIGITAL MOTION COMPOSITING INSTRUCTOR MING TAI 8 STUDENT: VISUAL DESIGN AARON SJOGREN TITLE FLIGHT SCHOOL CLASS INDEPENDENT STUDY INSTRUCTOR MARK TAKEUCHI 7
ARTCENTER.EDU/FILM
060
FILM
9 STUDENTS: DIRECTOR SAMAN KESHAVARZ PRODUCER ROMSON NIEGA TITLE CANON TRIGGER HAPPY CLASS PSA/COMMERCIAL INSTRUCTORS ANDREW HARLOW & JONAS MAYABB AWARDS COLLEGE TELEVISION EMMY AWARD (1) GOLD ADDY AWARD (4) TELLY AWARDS (5) CLIO AWARDS (3) CANNES LIONS YOUNG DIRECTORS AWARDS (2) 10 STUDENTS: DIRECTOR SAMAN KESHAVARZ PRODUCER FRANCIS POLLARA EDITOR NATHAN TAM TITLE LUV DELUXE CLASS PORTFOLIO PRODUCTION INDEPENDENT STUDY INSTRUCTOR ROSS LAMANNA AWARDS FUTURE SHORTS SHORT FILM AWARD (3) SOUTH BY SOUTHWEST 2010 BEST MUSIC VIDEO AWARD (2) HAMMER MUSEUM HONORABLE MENTION (4) SAATCHI AND SAATCHI SHORTLIST (1) 9
10
ARTCENTER.EDU
061
11 STUDENTS: DIRECTOR MOSES VENEGAS CINEMATOGRAPHER JEREMY M. LUNDBORG TITLE TURN ON BILLIE MUSIC VIDEO CLASS INDEPENDENT STUDY 12 STUDENT: CINEMATOGRAPHER JEREMY M. LUNDBORG TITLE SUNDAY (FEATURE FILM) CLASS INDEPENDENT STUDY 13 STUDENTS: DIRECTOR GEVORG KARAPETYAN PRODUCERS FRANCIS POLLARA & ROMSON NIEGA CINEMATOGRAPHER JEREMY M. LUNDBORG PRODUCTION DESIGNER JULIE CHEN EDITOR CJ MILLER SOUND DESIGN DAN BARTOLUCCI TITLE ADIDAS RAIN CLASS DIRECTING 3 INSTRUCTOR DAVID KELLOGG
11
12
13
ARTCENTER.EDU/FILM
062
Course Requirements
TERM 6 * Transdisciplinary Studio 3 TDS TERM 7 *
3 3 Electives
FILM
FILMDIRECTING
TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive CGR-107 Intro to Post Production FIL-110 Cinematography 1: Fund 1 FIL-006 CPR & First Aid Certification FND-101 Design 1 OR FND-103 Design 1 FND-108 Basics of Photo FIL-153 Film Directing 1 OR FIL-155 Acting Workshop for Directors TERM 2 CUL-220 Intro to Modernism FIL-154 Film Editing 1 FIL-156 Screenwriting 1 FIL-155 Acting Workshop for Directors OR FIL-153 Film Directing 1 FIL-157 Cinematography 2: Fund 2 FIL-205 Storyboarding for Filmmakers TERM 3 CUL-235 Critical Practice 1 FIL-211 Screenwriting 2 FIL-203 Film Directing 2 FIL-208 Directing 2: Tech Training FIL-204 Film Production Sound FIL-254 Film Editing 2 TERM 4 FIL-256 Advanced Screening: Scenes & Characters OR FIL-316 The Journey: Feature Screenwriting FIL-253 Film Directing 3 FIL-281 Post-Production Sound CUL-211 History of Cinema 1 OR CUL-212 History of Cinema 2 PRP-155 Business Affairs for Filmmakers TERM 5 * FIL-316 The Journey: Feature Screenwriting OR FIL-256 Advanced Screening: Scenes & Characters FIL-317 Pitching FIL-318 Line Producing & Prof Film Prod
TERM 8 *
3 0 3 3 Electives Additional required elective units in Humanities and Design Sciences: Human Electives 9 Culture Electives 6 Material Environment Electives 9 Professional Practice Electives 6 Studio Elective Units 27 Total Required Units 135
TERM 4 FIL-253 Film Directing 3 FIL-260 Lighting for Cinematography CUL-211 History of Cinema 1 OR CUL-212 History of Cinema 2 PRP-155 Business Affairs for Filmmakers TERM 5 * FIL-314 Cinematography Master Class FIL-318 Line Producing & Prof Film Prod
3 3 3 3
CGR-101 Digital Design 1 FIL-205 Storyboarding for Filmmakers TERM 3 CUL-235 Critical Practice 1 FIL-254 Film Editing 2 FIL-203 Film Directing 2 FIL-208 Directing 2: Tech Training FIL-204 Film Production Sound TERM 4 FIL-253 Film Directing 3 FIL-257 Film Editing 3: Adv Film Editing FIL-281 Post-Production Sound CUL-211 History of Cinema 1 OR CUL-212 History of Cinema 2 PRP-155 Business Affairs for Filmmakers TERM 5 * FIL-318 Line Producing & Prof Film Prod
3 3
3 3 3 0 3
3 3
3 3 3 3 3

Electives
3 3 3
FILMCINEMATOGRAPHY
TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive CGR-107 Intro to Post Production FIL-110 Cinematography 1: Fund 1 FIL-006 CPR & First Aid Certification FND-101 Design 1 OR FND-103 Design 1 FND-108 Basics of Photo FIL-153 Film Directing 1 OR FIL-155 Acting Workshop for Directors TERM 2 CUL-220 Intro to Modernism FIL-154 Film Editing 1 FIL-156 Screenwriting 1 FIL-155 Acting Workshop for Directors OR FIL-153 Film Directing 1 FIL-157 Cinematography 2: Fund 2 FIL-205 Storyboarding for Filmmakers TERM 3 CUL-235 Critical Practice 1 FIL-203 Film Directing 2 FIL-208 Directing 2: Tech Training FIL-210 Aesthetics of Cinematography: Color & Comp FIL-161 Cinematography Tech Training
TERM 8 *
3 3 3 0 3 3 Electives Additional required elective units in Humanities and Design Sciences: Human Electives 9 Culture Electives 6 Material Environment Electives 9 Professional Practice Electives 6 Studio Elective Units 36 Total Required Units 135
3 3 3

Electives
3 3 3 0 3 3
TERM 8 *
Electives
FILMEDITING
TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive CGR-107 Intro to Post Production FIL-110 Cinematography 1: Fund 1 FIL-006 CPR & First Aid Certification FND-101 Design 1 OR FND-103 Design 1 FND-108 Basics of Photo FIL-153 Film Directing 1 OR FIL-155 Acting Workshop for Directors TERM 2 CUL-220 Intro to Modernism FIL-154 Film Editing 1 FIL-156 Screenwriting 1 FIL-155 Acting Workshop for Directors OR FIL-153 Film Directing 1
3 3 3
3 3 3 0 3 3
3 3 3 3 3
3 3 3
3 3 0
3 3 3
3 3
3 3 3
ARTCENTER.EDU
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Student Voices
ART CENTERS FILM DEPARTMENT GIVES YOU THE TOOLS TO DO WHAT YOU WANT TO DO. THE COLLEGE IS FULL OF SERIOUS PEOPLE, AND IM INSPIRED BY THE ENVIRONMENT.
SAMAN KESHAVARZ TERM 7
ARTCENTER.EDU/FILM
064
FILM
WORKING FOR MY FAMILYS CONTAINER YARD BACK HOME IN TAIWAN, I FELT SO REMOVED FROM THE CREATIVE WORLD. I TOLD MY FAMILY, IF I STAY HERE, MY LIFE WILL BE BLACK AND WHITE. IF I PURSUE SOMETHING I REALLY LOVE, IT WILL BE IN COLOR. MY INSPIRATION COMES FROM THE PEOPLE I MEET, THE THINGS I SEE, THE PLACES I GO AND THE EMOTIONS I FEEL. I BELIEVE FILM IS THE MOST POWERFUL MEDIUM, BECAUSE ITS ALL ABOUT CONNECTING WITH OTHERS. LETTING PEOPLE KNOW THAT THEYRE NOT ALONE. I LOVE HEARING AN AUDIENCE RESPOND DURING A SCREENING. THE FACULTY HERE ARE AMAZING. THEY FEEL LIKE FAMILY. IVE EMAILED THEM AT TWO IN THE MORNING, SENT THEM SCREENPLAY DRAFTS THROUGHOUT THE WEEK AND EVEN CALLED THEM ON THANKSGIVING. ANDREA OU TERM 5
ARTCENTER.EDU
GREATER L.A.
Fine Art
WHY LOS ANGELES? 300+ MUSEUMS IN L.A. COUNTY, INCLUDING LOS ANGELES COUNTY MUSEUM OF ART, THE GETTY, THE MUSEUM OF CONTEMPORARY ART AND THE HAMMER MUSEUM. WHY LOS ANGELES? 183,000 TREES Art Centers Fine Art program IN PASADENA, AND NEARBY WARM BEACHES is designed to nurture each AND SNOW-CAPPED artists quest for self-discovery MOUNTAINS. and visual intelligence. It is a journey in which the interplay of the eye, hand and mind release the wonder of the imagination.
Laurence Dreiband
Department Chair
We live in an age when arts purpose and meaning are regularly being challenged. Visual culture is global, values are often contradictory, technology is constantly advancing, the pace of change is accelerating and new forms of art are dissolving the boundaries between fine art, mass media, design, film and entertainment. A meaningful art education needs to offer more than a rich understanding of arts past triumphs; it needs to provide insight into this generations emerging values and question prevailing assumptions for art-making. At the same time, it should foster an environment of introspection and innovation. Fine art students at Art Center are encouraged to see art not only as an expressive pursuit, but as an intellectual inquiry capable of producing knowledge. Artists make things. At Art Center, we teach our students the value of making things well. Our notable faculty are accomplished artists and scholars who share their insights and a dedication to inspire. And because we are a part of arguably the most vital and innovative design school in the country, our students have access to leading designers, sophisticated industrial shops, cutting-edge computer labs, a vast art library and an array of workshops not typically available to fine art students. Our Core Fine Art Program emphasizes the creative, conceptual and technical growth of the individual artist through a comprehensive exploration of all genrespainting, photography, sculpture, performance, installation and experimental film/video. Two additional tracksFine Art Painting and Illustration and Fine Art Photography and Imaginggive students opportunities to focus their course of study on particular skills.
ARTCENTER.EDU
064
FINE ART FACULTY
FILM
Core Faculty David Hullfish Bailey Laura Cooper WORKING FORLaurence Dreiband, Chair MY FAMILYS CONTAINER Alexandra Grant YARD BACK HOME IN TAIWAN, I FELT SO Katie CREATIVE WORLD. I REMOVED FROM THEGrinnan Kevin Hanley TOLD MY FAMILY, IF I STAY HERE, MY Tom Knechtel LIFE WILL BE BLACK AND WHITE. IF I Tom Laduke PURSUE SOMETHING I REALLY LOVE, IT WILL BE IN John Millei COLOR. MY INSPIRATION COMES FROM THE Jean Rasenberger PEOPLE I MEET, THE Zepeda I SEE, THE Anthony THINGS
PLACES I GO AND THE EMOTIONS I FEEL. I BELIEVE FILM IS THE MOST POWERFUL Faculty CON MEDIUM, BECAUSE ITS ALL ABOUT CONRosetta Brooks NECTING WITH OTHERS. LETTING PEOPLE Rebecca Campbell KNOW THAT THEYRE NOT ALONE. I LOVE Mason Cooley HEARING AN AUDIENCE RESPOND DURING Zoe Crosher A SCREENING. Lecia Dole-Recio THE FACULTY HERE ARE AMAZING. M.A. Greenstein THEY FEEL LIKE FAMILY. IVE EMAILED Bruce Hainley THEM AT TWO IN THE MORNING, SENT THEM Patrick Hill SCREENPLAY DRAFTS THROUGHOUT THE WEEK Mitchell Kane AND EVEN CALLED THEM ON THANKSGIVING. ANDREA OU TERM 5
Nicholas Kersulis Gary Kornblau Soo Kim Jane McFadden Jamie McMurry Adam Ross Jan Tumlir
VISIT US ON FACEBOOK TINYURL.COM/39L3BSV
ARTCENTER.EDU
065
Fine Art
Art Centers Fine Art program is designed to nurture each artists quest for self-discovery and visual intelligence. It is a journey in which the interplay of the eye, hand and mind release the wonder of the imagination. Laurence Dreiband
Department Chair
We live in an age when arts purpose and meaning are regularly being challenged. Visual culture is global, values are often contradictory, technology is constantly advancing, the pace of change is accelerating and new forms of art are dissolving the boundaries between fine art, mass media, design, film and entertainment. A meaningful art education needs to offer more than a rich understanding of arts past triumphs; it needs to provide insight into this generations emerging values and question prevailing assumptions for art-making. At the same time, it should foster an environment of introspection and innovation. Fine art students at Art Center are encouraged to see art not only as an expressive pursuit, but as an intellectual inquiry capable of producing knowledge. Artists make things. At Art Center, we teach our students the value of making things well. Our notable faculty are accomplished artists and scholars who share their insights and a dedication to inspire. And because we are a part of arguably the most vital and innovative design school in the country, our students have access to leading designers, sophisticated industrial shops, cutting-edge computer labs, a vast art library and an array of workshops not typically available to fine art students. Our Core Fine Art Program emphasizes the creative, conceptual and technical growth of the individual artist through a comprehensive exploration of all genrespainting, photography, sculpture, performance, installation and experimental film/video. Two additional tracksFine Art Painting and Illustration and Fine Art Photography and Imaginggive students opportunities to focus their course of study on particular skills.
ARTCENTER.EDU/FINEART
066
FINE ART
1 STUDENT MICHAEL FLANIGAN TERM SIXTH TITLE THE 500 MOST FORGETTABLE MOMENTS OF 2009 CLASS SENIOR PROJECTS INSTRUCTORS KEVIN HANLEY & ALEXANDRA GRANT 2 STUDENT MICHAEL FLANIGAN TERM SIXTH TITLE FATHER FIGURE, PERSONAL PROJECT INSTRUCTOR JOHN MILLEI
ARTCENTER.EDU
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3 STUDENT SHANA DIMASE TERM SIXTH TITLE BEE NECKLACE CLASS TDS: WILD CULTURE INSTRUCTORS LAURA COOPER & TOM KNECHTEL
I believe it is increasingly crucial to be aware of our relationship with the environment, our vulnerability and mortality. This piece deals with these ideas and also my interest in entropy and organic events, the contradictions of permanence and impermanence and the history of adornment. Shana Dimase
(DETAIL)
068
FINE ART
ARTCENTER.EDU
069
4 (FOREGROUND) STUDENT BRANDON SMITH TERM EIGHTH TITLE UNTITLED CLASS SENIOR PROJECTS INSTRUCTORS KEVIN HANLEY & JOHN MILLEI (BACKGROUND) STUDENT LISA PARK TERM EIGHTH TITLES (LT) CAROLINE (RT) RODOLFO CLASSES SENIOR PROJECT AND PRINTMAKING (INDEPENDENT STUDY) INSTRUCTORS ANTHONY ZEPEDA, KEVIN HANLEY, TOM KNECHTEL & JAN TUMLIR 5 STUDENT LISA MADONNA TERM EIGHTH TITLE LIGHTING IN THE DESERT MAKES GLASS CLASS SENIOR PROJECTS INSTRUCTORS KEVIN HANLEY & JOHN MILLEI
The scarcity of image in the piece allows the viewer to experience without extraneous narrative elements, instead focusing on the phenomenological significance of both what is present and what is unseen. I am exposing the viewer to the anxiety existing within the landscape. I am asking him or her to negotiate the ambiguities of imagery and the directness of materiality that constitutes the event of perceiving the work.Lisa Madonna
070
FINE ART
6 STUDENT THEODORA ALLEN TERM EIGHTH TITLE UNTITLED CLASS SENIOR PROJECT INSTRUCTORS JOHN MILLEI, TOM KNECHTEL & TOM LADUKE 7 STUDENT RICHARD CORAL TERM SEVENTH TITLE UNTITLED CLASS PASSION FOR PAINTING INSTRUCTORS LECIA DOLE-RECIO & KRISTEN CALABRESE
ARTCENTER.EDU
071
8 STUDENT EOWYN WILCOX TERM SEVENTH TITLE MOTHERS KITCHEN CLASS SENIOR PROJECTS INSTRUCTORS ALEXANDRA GRANT, KEVIN HANLEY & TOM KNECHTEL
Painting bridges the inner world of memory and emotion and the external world of objects and images. Small paintings are by nature intimate, compressed, contained. They are scaled to the body and to the domestic space; well suited for individual, private contemplation. My paintings are windows into the life of the artist. I think of them as objects of longing, accessible only to the attentive eye. Eowyn Wilcox
072
Course Requirements
TERM 7 * FAR-402 Senior Projects 1 PRP-411 Professional Practices
3 3 3 3 3 3 1 3 3
FINE ART
FINE ARTCORE TRACK

TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive FAR-101 Rethinking Art 1 FND-103 Design 1 PHO / ENV / FAR FND-113 Drawing Concepts 1 FND-158 Materials: Art & Design FAR-304 Painting Strategies FAR-305 One on One TERM 2 ARH-220 Intro to Modernism CGR-101 Digital Design 1 FAR-152 Studies in Contemporary Sculpture FND-152 Design 2: Structure & Color FAR-202 Studio Practice FAR-305 One on One TERM 3 CUL-235 Critical Practice 1 FND-154 Drawing as Process FAR-253 Installation Concepts FAR-204 Art: Structures & Systems FND-155 Language of the Moving Image 1 FAR-305 One on One fnd-108 Basics of Photo TERM 4 CUL-207 History of Art 1 OR CUL-208 History of Art 2 OR CUL-209 History of Art 3 CUL-236 Critical Practice 2 FAR-252 Visiting Artist Workshop OR FAR-352 Dialogues with Visiting Artists far-200 Defining Your Work FAR-451 Contemporary Issues TERM 5 HMN-324 Readings in Fine Art FAR-351 Studio Visits 1 TDS Transdisciplinary Studio FAR-300 5th Term Review
ILL-171 Portraiture far-200 Defining Your Work FAR-451 Contemporary Issues TERM 5 FAR-351 Studio Visits 1 HMN-324 Readings in Fine Art ILL-325 Nude Body TDS Transdisciplinary Studio FAR-300 5th Term Review TERM 6 * FAR-352 Dialogues with Visiting Artists OR FAR-252 Visiting Artist Workshop 1 HMN-327 Writing About Art FAR 403 Fine Art Seminar TERM 7 * FAR-402 Senior Projects 1 PRP-411 Professional Practices
3 3 3
TERM 8 * FAR-452 Senior Projects 2
3 3 3 3 3 1
Additional required elective units in Humanities and Design Sciences: Human Electives 3 Culture Electives 6 Material Environment Electives 9 Professional Practice Electives 3 Studio Elective Units 15 Total Required Units 135
3 3 3 3 3
TERM 3 CUL-235 Critical Practice 1 FAR-204 Art: Structures & Systems FAR-305 One on One PHO-219 Imaging 3 PHO-257 Color: Processing & Printing TERM 4 CUL-207 History of Art 1 OR CUL-208 History of Art 2 OR CUL-209 History of Art 3 FAR-252 Visiting Artist Workshop 1 PHO-312 Design 2 / Color Theory far-200 Defining Your Work Far-205 Art & Photography TERM 5 FAR-300 5th Term Review TDS Transdisciplinary Studio PHO-201 Photoshop 2 HMN-324 Readings in Fine Art TERM 6 FAR-351 Studio Visits 1 FAR-352 Dialogues with Visiting Artists FAR-403 Fine Art Seminar FAR-240 Given Time HMN-327 Writing About Art CUL-218 Hist of Photography 2 TERM 7 * FAR-402 Senior Projects 1 PRP-411 Professional Practices TERM 8 * FAR-452 Senior Projects 2 PHO-465 Best Practice
3 3 1 3 3
3 3 3 3 3
FINE ARTPAINTING AND ILLUSTRATION TRACK

TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive FAR-101 Rethinking Art FND-103 Design 1 PHO / ENV / FAR FND-158 Materials: Art & Design FND-113 Drawing Concepts 1 FAR-304 Painting Strategies FAR-305 One on One TERM 2 CUL-220 Intro to Modernism CGR-101 Digital Design 1 FND-152 Design 2 FND-153 Composition & Painting FND-208 Composition & Drawing FAR-202 Studio Practice FAR-305 One on One
3 3 3
3 3 3 3 3 1 3
3 3 3 3 3 3 1
3 3
TERM 8 * 3 FAR-452 Senior Projects 2 TDS Transdisciplinary Studio 3

3 3 3 3
3 3 3 3 3 3
3 3
3 3 3 3 3 3 1
FINE ARTPHOTOGRAPHY AND IMAGING TRACK

TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive CGR-101 Digital Design FAR-101 Rethinking Art 1 FAR-305 One on One FND-103 Design 1 PHO / ENV / FAR PHO-161 Imaging 1 PHO-221 Advanced Photo Processing 1 TERM 2 CUL-220 Intro to Modernism PHO-222 Advanced Photo Processing 2 PHO-160 Core Lighting PHO-107 View Camera PHO-211 Imaging 2 FAR-202 Studio Practice FAR-305 One on One
3 3
3 3 3
3 3 3 3
TERM 3 3 CUL-235 Critical Practice 1 FND-167 Head and Hands 3 FND-351 Drawing Concepts 2 OR ILL-305 Drawing for Illustration OR ILL-204 Anatomical Figure Drawing 3 FAR-204 Art: Structure & Systems 3 FND-155 Language of Moving Image 3 FAR-305 One on One 1 TERM 4 3 CUL-236 Critical Practice 2 CUL-207 History of Art 1 OR CUL-208 History of Art 2 OR CUL-209 History of Art 3 3 FAR-252 Visiting Artist Workshop 1 OR FAR-352 Dialogues with Visiting Artists 3
3 3
3 3 3 1 3 3 3
Additional required elective units in Humanities and Design Sciences: Culture Electives 3 Material Environment Electives 9 Professional Practice Electives 3 Studio Elective Units 3 Total Required Units 135 * Studio electives will be added to schedule to meet studio requirements.
TERM 6 * 3 FAR-403 Fine Art Seminar HMN-327 Writing About Art 3 FAR-352 Dialogues with Visiting Artists OR FAR-252 Visiting Artist Workshop 3
3 3 3 3 3 3 1
ARTCENTER.EDU
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Student Voices
I TAKE MY WORK MUCH MORE SERIOUSLY SINCE COMING TO ART CENTER. I TREAT IT WITH A METICULOUSNESS AND COMMITMENT THAT I DIDNT HAVE IN THE PAST. FOR THE FIRST TIME, I FEEL COMPLETELY SUPPORTED PURSUING A CAREER DOING WHAT I LOVE.
SHANA DIMASE TERM 5
074
FINE ART
BEFORE COMING TO ART CENTER, MY WORK WAS BASED ON ASSIGNMENTS GIVEN TO ME IN CLASS. SO IT WAS A LITTLE JARRING TO COME TO ART CENTER AND BE ASKED TO CREATE WORK FROM MY PERSONAL EXPERIENCES AND IDEAS. I SOON BECAME INTERESTED IN HOW OUR PERSONAL EXPERIENCES AFFECT THE WAY THAT WE VIEW AND UNDERSTAND THE WORLD. IVE LEARNED THAT FINE ART ISNT LIMITED TO DRAWING OR PAINTING. I LOVE THAT ABOUT THE FINE ART DEPARTMENT. FACULTY ENCOURAGE THE USE OF DIFFERENT MEDIA, WHICH I HADNT TRIED BEFORE. EVERYTHING THAT I CREATE NOW IS DEPENDENT ON WHAT IM TRYING TO COMMUNICATE, IN ADDITION TO WHAT MATERIALS IM USING. TODAY, MY WORK IS NO LONGER JUST ASSIGNMENTS. LISA MADONNA TERM 8
ARTCENTER.EDU
GREATER L.A.
Graphic Design
WHY LOS ANGELES? ONE OUT OF EVERY SIX LOS ANGELES RESIDENTS WORKS IN THE CREATIVE INDUSTRY ARTISTS, DESIGNERS, WRITERS, MUSICIANS, DANCERS, FILMMAKERS AND ACTORS. WHY LOS ANGELES? Graphic Design 329 ON AVERAGE, has become DAYS than ink on paper; more OF SUNSHINE PER YEAR. page to conquer it has left the space, motion and interaction.
Nik Hafermaas
Department Chair
At Art Center, Graphic Design students learn to infuse words and images with life and meaning, whether they are creating motion graphics on the latest digital equipment, or setting type by hand in Art Centers letterpress shop. Our program begins with an accelerated education in the formal principles of design, aesthetics and craftsmanship, after which students may specialize in a single area of graphic design or continue to explore the full scope of communication design. This approach is consistently validated by the awards our students win in many of the nations top competitions. Traditional manual skills, such as hand lettering and drawing, and sophisticated graphics software are part of the spectrum of tools available to todays graphic designers. We challenge students to develop their design solutions while experimenting with a wide range of media, including product packaging, book and magazine layouts, interactive communication, 3D graphics, virtual environments and the creation of graphic identities and branded experiences. Through Transdisciplinary Studios, often sponsored by corporate clients, and Designmatters projects on behalf of humanitarian organizations, our students apply their skills to commercial and nonprofit causes while collaborating with students from other majors. For example, our students recently designed new ways to engage the Millennial generation for NASA, through movies, print campaigns, environmental interventions and interactive solutions. Our Graphic Design education is rounded off with courses on design history and pop culture, the language of the moving image and design research. By learning to create solutions that are innovative, coherent, artistic and engaging, we prepare students to become leaders in communication designwhether they plan to join an established firm or launch a studio of their own.
ARTCENTER.EDU
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GRAPHIC DESIGN FACULTY
FINE ART
BEFORE COMING TO ART CENTER, MY WORK WAS BASED ON ASSIGNMENTS GIVEN TO ME IN CLASS. SO IT WAS A LITTLE JARRING TO COME TO ART CENTER AND BE ASKED TO CREATE WORK FROM MY PERSONAL EXPERIENCES AND IDEAS. I SOON BECAME INTERESTED IN HOW OUR PERSONAL EXPERIENCES AFFECT THE WAY THAT WE VIEW AND UNDERSTAND THE WORLD. IVE LEARNED THAT FINE ART ISNT LIMITED TO DRAWING OR PAINTPAINTING. I LOVE THAT ABOUT THE FINE ART DEPARTMENT. FACULTY ENCOURAGE THE USE OF DIFFERENT MEDIA, WHICH I HADNT TRIED BEFORE. EVERYTHING THAT I CREATE NOW IS DEPENDENT ON WHAT IM TRYING TO COMMUNICATE, IN ADDITION TO WHAT MATERIALS IM USING. TODAY, MY WORK IS NO LONGER JUST ASSIGNMENTS. LISA MADONNA TERM 8
Sean Adams Kaan Atilla Carla Barr Brad Bartlett Maura Bendett* Ania Borysiewicz Brian Boyl, Dir. Interactive Design Jamie Cavanaugh John Chambers* James Chu Cody Clark Bruce Claypool* Jason Cook Vladimiro Delsoglio Chris Do Sean Donahue Ryan DOrazi Michelle Dougherty Tyrone Drake Seth Drenner Alice Fung* Robert Garrott Allison Goodman Clane Graves Nik Hafermaas, Chair Paul Hauge Gerardo Herrera, Dir. Package Design Oliver Hess Leah Hoffmitz Dan Hoy Annie Huang Robert Hunt* Wayne Hunt Simon Johnston, Dir. Print Design Joan Kahn* Seth Kaufman* Richard Keyes* Steve Kim, Managing Director Gloria Kondrup, Dir. Archetype Press Leonard Konopelski Miguel Lee Susan Lee Justin Leibow Nils Lindstrom Catherine MacLean* Ko Maruyama Todd Masilko Graham Moore* Ramone Muoz Chesley Nassaney Jon Tuan Nguyen* Douglas Oliver Javier Palomares* Cheryl Pelly Clive Piercy Dana Duncan Seil Ming Tai, Acting Dir. Motion Design Petrula Vrontikis Lisa Wagner Michael Wilson Randall Wilson* Mary Yanish* Doyald Young * Integrated Studies
ARTCENTER.EDU
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Graphic Design
Graphic Design has become more than ink on paper; it has left the page to conquer space, motion and interaction. Nik Hafermaas
Department Chair
TEACHEVIL.COM A RICH AND DYNAMIC COLLECTION OF ARTICLES, ESSAYS AND COMMENTARY AROUND GRAPHIC DESIGN FOR MORE STUDENT WORK, CHECK OUT THE GALLERY SECTION AT ARTCENTER.EDU/GPK
At Art Center, Graphic Design students learn to infuse words and images with life and meaning, whether they are creating motion graphics on the latest digital equipment, or setting type by hand in Art Centers letterpress shop. Our program begins with an accelerated education in the formal principles of design, aesthetics and craftsmanship, after which students may specialize in a single area of graphic design or continue to explore the full scope of communication design. This approach is consistently validated by the awards our students win in many of the nations top competitions. Traditional manual skills, such as hand lettering and drawing, and sophisticated graphics software are part of the spectrum of tools available to todays graphic designers. We challenge students to develop their design solutions while experimenting with a wide range of media, including product packaging, book and magazine layouts, interactive communication, 3D graphics, virtual environments and the creation of graphic identities and branded experiences. Through Transdisciplinary Studios, often sponsored by corporate clients, and Designmatters projects on behalf of humanitarian organizations, our students apply their skills to commercial and nonprofit causes while collaborating with students from other majors. For example, our students recently designed new ways to engage the Millennial generation for NASA, through movies, print campaigns, environmental interventions and interactive solutions. Our Graphic Design education is rounded off with courses on design history and pop culture, the language of the moving image and design research. By learning to create solutions that are innovative, coherent, artistic and engaging, we prepare students to become leaders in communication designwhether they plan to join an established firm or launch a studio of their own.
ARTCENTER.EDU/GPK
076
GRAPHIC DESIGN
1 STUDENT TZU HO IP TERM FOURTH TITLE SMMA CLASS TYPE 4: TRANSMEDIA INSTRUCTOR BRAD BARTLETT
ARTCENTER.EDU
077
2 STUDENT HYEJUNG BAE TERM SIXTH TITLE MUSIC CONCERT POSTER SERIES CLASS ADVANCED GRAPHIC DESIGN INSTRUCTOR CLIVE PIERCY AWARD 89TH ART DIRECTORS CLUB 2010: CUBE (HIGHEST AWARD)
ARTCENTER.EDU/GPK
078
GRAPHIC DESIGN
3 STUDENT EMERSON VELAZQUEZ TERM SIXTH TITLE VIVE LATINO POSTERS CLASS ADVANCED GRAPHICS STUDIO 1 INSTRUCTOR CLIVE PIERCY
AWARDS 88TH ART DIRECTORS CLUB 2009: CUBE (HIGHEST AWARD), 2009 THE TYPE DIRECTORS CLUB: CERTIFICATE OF TYPOGRAPHIC EXCELLENCE
ARTCENTER.EDU
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4 STUDENTS DESIGN: MARIAN CHAO ANIMATION: ANDREW TAN TERM FIFTH TITLE HP LIVE YOUR POTENTIAL MOTION PIECE CLASS HEWLETT PACKARD SPONSORED STUDIO INSTRUCTOR SIMON JOHNSTON
AWARDS 2010 THE TYPE DIRECTORS CLUB TDC 56 SHOW, 2009 PROMAX/BDA: BROADCAST DESIGNERS ASSOCIATION AWARDS: GOLD & JUDGES CHOICE AWARD
ARTCENTER.EDU/GPK
080
GRAPHIC DESIGN
5 STUDENT TOMOKO OGINO TERM FOURTH TITLE GRIFFITH OBSERVATORY CLASS TYPE 4: TRANSMEDIA INSTRUCTOR BRAD BARTLETT
ARTCENTER.EDU
081
6 STUDENT ESTHER CHANG TERM FIFTH TITLE CASTROL PACKAGE REBRAND CLASS PACKAGING 2 INSTRUCTOR ANIA BORYSIEWICZ PACKAGING SOLUTION TO REDUCE THE ENVIRONMENTAL IMPACT OF AUTOMOTIVE PRODUCTS
ARTCENTER.EDU/GPK
082
Course Requirements
3 3 3 1 3 3 3
GRAPHIC DESIGN
TERM 1 CUL-235 Critical Practice 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive CGR-151 Digital Design 2 FND-110 Draw & Aim FND-102 Design 1 GPK / ILL / ADT FND-109 Comm Des 1: Primer FND-111 Type 1: Letterforms TERM 2 PRP-200 Art of Research OR PRP-201 Art of Research CGR-211 Motion Design 1 FND-152 Design 2: Structure & Color FND-159 Comm Des 2: Context FND-160 Draw & Shoot GPK-151 Typography 2: Structure TERM 3 CUL-220 Intro to Modernism CGR-155 Interactive Design & Development 1 FND-158 Materials of Art & Design GPK-222 Comm Des 3: Narrative GPK-201 Typography 3: Context
TERM 4 GPK-261 Type 4: Transmedia OR GPK-259 Motion Typography GPK-254 Package 1 CUL-230 Graphic Design History 1 GPK-332 Comm Des 4: Transmedia GPK-301 Information Design TERM 5 GPK-204 Identity Systems GPK-303 Type for Places & Spaces CUL-231 Graphic Design History 2 GPK-300 5th Term Review Graphic Design Electives
3 3 3 3 3
3 3 3 3 3 3
3 3 3 0 6
TERM 6 * GPK-355 Advanced Graphic Studio 1 3 TDS Transdisciplinary Studio 3 Graphic Design Electives 3 TERM 7 * GPK-405 Advanced Graphic Studio 2 3 PRP-203 Business 101 3 Graphic Design Electives 3 TERM 8 * GPK-456 Portfolio & Career Prep 3 GPK-470 Advanced Graphic Studio 3 3 Graphic Design Electives 3
3 3 3 3 3
ARTCENTER.EDU
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Student Voices
I WANT MY WORK TO ENCOURAGE PEOPLE TO INTERACT WITH EACH OTHER. AND THROUGH THAT INTERACTION, DISCOVER THAT WERE ALL CONNECTED.
MICHELLE CHO TERM 1
ARTCENTER.EDU/GPK
084
GRAPHIC DESIGN
AS A KID GROWING UP IN BAKERSFIELD, I WAS ALWAYS PAINTING AND SKETCHING. UNFORTUNATELY, NOT LIVING CLOSE TO AN ARTISTIC COMMUNITY, NEITHER MY PARENTS NOR I THOUGHT ART WAS A SERIOUS CAREER CHOICE. SO AFTER HIGH SCHOOL, I PUSHED MY CREATIVITY ASIDE AND STUDIED SOCIOLOGY AND POLITICAL SCIENCE. BUT AFTER GRADUATING FROM COLLEGE, I CAME TO REALIZE THAT CREATING ART WAS NOT JUST A BIG PART OF MY IDENTITY, IT WAS SIMPLY SOMETHING I NEEDED TO DO. WHEN I VISITED ART CENTER, I KNEW THIS WAS THE PLACE FOR ME. WALKING DOWN THE HALLS, I NOTICED THE STUDENTS WERE MOVING WITH A PURPOSE. THEY WERE ENGAGED, MOTIVATED AND INVESTED IN THEIR WORK. AS SOMEBODY RETURNING TO UNDERGRADUATE STUDIES, THAT WAS IMPORTANT. THE FACULTY HERE GIVE STUDENTS THE TOOLS, BUT ITS UP TO YOU TO PUSH YOURSELF. AND THATS ESSENTIAL. BECAUSE UNLESS YOURE SELFMOTIVATED, YOURE NOT GOING ANYWHERE. CHRISTINA NIZAR TERM 5
ARTCENTER.EDU
Illustration
WHY LOS ANGELES? ANIMATION HAS A LONG TRADITION IN THIS CITY WALT DISNEY, WARNER BROTHERS, WALTER LANTZ THAT CONTINUES TO THIS DAY. WHY LOS ANGELES? LOS ANGELES FASHION DISTRICT SPANS 90 BLOCKS DOWNTOWN AND IS THE HUB thinkers, Illustrators are OF THE WEST COAST provocateurs image-makers, APPAREL INDUSTRY. and, ultimately, artists who work in all creative fields.
Ann Field
Department Chair
Illustration is the defining art form of the 21st century. It connects high fashion and animated movies; retail environments and computer games; political, editorial and street art; books and childrens toys. Illustrations unique ability to define social, political and cultural ideas makes it an ideal solution for advertising, publishing, feature animation, licensing, retail and editorial projects. To succeed in any of these areas, illustrators must not only master their drawing skills but also develop their ideas and understanding of illustrations impact on contemporary culture. Art Centers Illustration program is renowned for its teaching of skills in drawing, painting, perspective, color theory and concept, matched with an education in the history of art, pop culture and ideas. After a thorough grounding in foundation classes, advanced students select an area of focus (track) that best suits their talent and guides the development of their practicewith a focus on projects relevant to specific careers. The tracks include: Illustration Design: For the student interested in contemporary culture, and who possesses a graphic sensibility, digital skills and the ability to mix hand and digital practice. Projects are relevant to todays world of illustration: licensing, publishing, print and motion. Illustration for Motion: For the student interested in storyboarding and motion design, and who can work collaboratively on motion pieces fit for advertising, music videos, retail environments and public service announcements. Illustration / Fine Art: For the student seeking to adapt his / her illustration skills to the gallery environment. The student participates in advanced classes within the Fine Art Department, which stresses self-direction, concept and originality. Entertainment Arts: For the student whose exceptional skill in drawing, painting and perspective is combined with a love for storytelling, character and narrative environments. The student becomes prepared for a fast-paced career in feature animation.
ARTCENTER.EDU/ILLUSTRATION
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ILLUSTRATION FACULTY
GRAPHIC DESIGN
Core Faculty Rob Clayton Gayle Donahue Dana Duncan Ann Field, Chair Jason Holley Richard Houston Mike Humphries Bob BAKERSFIELD, I WAS AS A KID GROWING UP INKato David Luce ALWAYS PAINTING AND SKETCHING. UNFORTUUNFORTU NATELY, NOT LIVING Gary Meyer AN ARTISTIC CLOSE TO COMMUNITY, NEITHER Aaron Smith NOR I MY PARENTS Jeffrey Smith THOUGHT ART WAS A SERIOUS CAREER CHOICE. David PUSHED MY CREATIV SO AFTER HIGH SCHOOL, I Tillinghast CREATIVWill SOCIOLOGY AND ITY ASIDE AND STUDIED Weston POLITICAL SCIENCE. Deni Wohlgemuth BUT AFTER GRADUATING
FROM COLLEGE, I CAME TO REALIZE THAT CREATING ART WAS NOT JUST A BIG PART OF MY Faculty IDENTITY, IT WAS SIMPLYAtterbery Craig SOMETHING I NEEDED TO DO. Steven Brown WHEN I VISITED ART CENTER, I KNEW THIS Reynaldo Bustos WAS THE PLACE FOR ME. WALKING DOWN THE Sean Cheetham HALLS, I NOTICED THE STUDENTS WERE MOVING Peter Choe WITH A PURPOSE. THEY WERE ENGAGED, Christian Clayton MOTIVATED AND INVESTED IN THEIR WORK. AS Ricardo Delgado SOMEBODY RETURNING TO UNDERGRADUATE Dominick Domingo STUDIES, THAT WAS IMPORTANT. THE FACULTY Dana Duncan-Seil HERE GIVE STUDENTS THE TOOLS, BUT ITS UP James Heimann TO YOU TO PUSH YOURSELF. AND THATS ESSENTIAL. BECAUSE Jason Holley UNLESS YOURE SELFRichard Houston MOTIVATED, YOURE NOT GOING ANYWHERE. CHRISTINA NIZAR TERM 5
Joey Jones Richard Keyes Tom Knechtel David Luce Lorrie Madden Gary Meyer Christine Nasser Cliff Nielsen Louis Police Brian Rea Martha Rich Nancy Riegelman Paul Rogers Rob Ruppel James Salvati Alex Schaefer Ron Slenzak Mark Strickland
VISIT US ON FACEBOOK TINYURL.COM/3XT8730
ARTCENTER.EDU
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Illustration
Illustrators are thinkers, image-makers, provocateurs and, ultimately, artists who work in all creative fields. Ann Field
Department Chair
Illustration is the defining art form of the 21st century. It connects high fashion and animated movies; retail environments and computer games; political, editorial and street art; books and childrens toys. Illustrations unique ability to define social, political and cultural ideas makes it an ideal solution for advertising, publishing, feature animation, licensing, retail and editorial projects. To succeed in any of these areas, illustrators must not only master their drawing skills but also develop their ideas and understanding of illustrations impact on contemporary culture. Art Centers Illustration program is renowned for its teaching of skills in drawing, painting, perspective, color theory and concept, matched with an education in the history of art, pop culture and ideas. After a thorough grounding in foundation classes, advanced students select an area of focus (track) that best suits their talent and guides the development of their practicewith a focus on projects relevant to specific careers. The tracks include: Illustration Design: For the student interested in contemporary culture, and who possesses a graphic sensibility, digital skills and the ability to mix hand and digital practice. Projects are relevant to todays world of illustration: licensing, publishing, print and motion. Illustration for Motion: For the student interested in storyboarding and motion design, and who can work collaboratively on motion pieces fit for advertising, music videos, retail environments and public service announcements. Illustration / Fine Art: For the student seeking to adapt his / her illustration skills to the gallery environment. The student participates in advanced classes within the Fine Art Department, which stresses self-direction, concept and originality. Entertainment Arts: For the student whose exceptional skill in drawing, painting and perspective is combined with a love for storytelling, character and narrative environments. The student becomes prepared for a fast-paced career in feature animation.
086
ILLUSTRATION
1 STUDENT SAMATHA KALLIS TERM EIGHTH TITLE A WRINKLE IN TIME CLASS STORYBOARDING INSTRUCTOR RICARDO DELGADO 2 STUDENT Ana Serrano TERM EIGHTH TITLE UNTITLED CLASS SUPERSIZED INSTRUCTORS ROB & CHRISTIAN CLAYTON (THE CLAYTON BROTHERS)
ARTCENTER.EDU
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088
ILLUSTRATION
3 STUDENT PATRICK HRUBY TERM EIGHTH TITLE IMAGINE SOMETHING BEAUTIFUL CLASS IMAGE AND IDEA INSTRUCTORS ANN FIELD & STEVEN TURK
(DETAIL)
ARTCENTER.EDU
089
4 STUDENT MATT WOOD TERM SIXTH TITLE TWO PRESIDENTS, REAGAN AND JOHNSON CLASS DRAWING CONCEPTS INSTRUCTOR JEFFREY SMITH 5 STUDENT KEIKA YAMAGUCHI TERM SIXTH TITLE JUMANJI RHINO CLASS STYLECHARACTER DESIGN INSTRUCTOR MICHAEL HUMPHRIES
090
ILLUSTRATION
6 STUDENT PING ZHU TERM SEVENTH TITLE PORTRAIT OF FILMMAKER WES ANDERSON CLASS ILLUSTRATIVE STORYTELLING INSTRUCTOR JEFFREY SMITH
ARTCENTER.EDU
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7 STUDENT SO HEE HWANG TERM SIXTH TITLE UNTITLED CLASS PORTRAITURE INSTRUCTOR DAVID LUCE
092
Course Requirements
3 3 3 3 3
ILLUSTRATION
ILLUSTRATIONCORE TRACK
TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive CGR-101 Digital Design 1 FND-102 Design 1 GPK / ILL / ADT FND-167 Head and Hands FND-208 Composition & Drawing
TERM 7 * PRP-203 Business 101 ILL-415 Background Ptg / Animated Films ILL-371 Inventive Character 1 TERM 8 * ILL-471 Ent Senior Projects ILL-453 Portfolio Design Lab
3 3 3
3 3
ILLUSTRATIONMOTION TRACK
TERM 4 ILL-253 Image & Idea GPK-256 Storyboarding for Motion ILL-261 Illustration Design Lab CGR-211 Motion Design 1
3 3 3 3
ILLUSTRATIONDESIGN TRACK
TERM 2 3 CUL-235 Critical Practice 1 FND-152 Design 2: Structure & Color 3 FND-106 Perspective OR IDF-102 Vis Comm Fund 1 3 FND-153 Composition and Painting 3 FND-113 Drawing Concepts 1 3 ILL-101 Illustration Now 1 3 TERM 3 CUL-236 Critical Practice 2 CUL-220 Intro to Modernism CGR-258 Digital Illustration FND-158 Materials of Art & Design OR IDF-152 Vis Comm Fund 2 FND-207 Sketching for Illustration OR FND-241 Sketching for Entertainment FND-203 Expressive TypeIllus ILL-203 3rd Term Review
TERM 4 FND-251 Color Theory OR ILL-171 Portraiture ILL-253 Image & Idea ILL-261 Illustration Design Lab ILL-260 Illustration Design TERM 5 CUL-230 Graphic Design History 1 OR CUL-207 History of Art 1 OR CUL-208 History of Art 2 OR CUL-209 History of Art 3 OR CUL-215 History of Illustration ILL-308 Fashion Illustration OR FND-351 Drawing Concepts 2 ILL-315 Illustrative Storytelling ILL-319 Adv Illustration Studio FND-216 Adv Portraiture OR CGR-211 Motion Design 1
3 3 3 3
ILLUSTRATIONFINE ART TRACK

3 3 3
TERM 5 ILL-319 Advanced Illustration Studio 3 FND-252 Color Theory for Entertainment 3 FND-155 Language of the Moving Image 1 3 CUL-221 Language of the Moving Image Seminar 3 FND-351 Drawing Concepts 2 OR FND-305 Drawing for Illustration OR ILL-254 Inventive Drawing OR FAR-154 Drawing as Process 3 TERM 6 * CGR-261 Motion Design 2 ILL-315 Illustrative Story Telling TDS Transdisciplinary Studio ILL-363 6th Term Review TERM 7 * ILL-318 Notorious! CGR-205 3D Motion Graphics OR ILL-325 Nude / Body PRP-203 Business 101 TERM 8 * ILL-453 Portfolio Design Lab
3 3 0
TERM 4 3 FAR-101 Rethinking Art 1 FND-351 Drawing Concepts 2 OR FND-305 Drawing for Illustration OR FND-154 Drawing as Process 3 FND-171 Portraiture OR FND-251 Color Theory 3 FND-304 Painting Strategies 3 CUL-207 History of Art 1 OR CUL-208 History of Art 2 OR CUL-209 History of Art 3 OR CUL-215 History of Illustration OR CUL-230 Graphic Design History 3 TERM 5 3 FAR-202 Studio Practice FND-251 Color Theory OR FND-171 Portraiture 3 ILL-315 Illustrative Storytelling OR ILL-253 Image and Idea 3 ILL-325 Nude Body 3 TERM 6 * 0 ILL-363 6th Term Review TDS Transdisciplinary Studio 3 ILL-216 Adv Portraiture 3 TERM 7 * 3 PRP-203 Business 101 ILL-425 Senior Drawing Projects 3 FAR-351 Studio Visits 1 OR FAR-252 Visiting Artists Workshop 1 3 TERM 8 * FAR-403 Fine Art Seminar OR FAR-352 Dialogues with Visiting Artists 3 ILL-465 Senior Painting Projects 3 ILL-453 Portfolio Design Lab 3
3 3 3 3 3
3 3 3 0
3 3 3
ILLUSTRATIONENTERTAINMENT ARTS TRACK

TERM 4 ILL-253 Image & Idea ILL-254 Inventive Drawing ILL-256 Creative Perspective CUL-207 History of Art 1 OR CUL-208 History of Art 2 OR CUL-209 History of Art 3 OR CUL-215 History of Illustration OR CUL-230 Graphic Design History 1 TERM 5 FND-252 Color Theory for Entertainment ILL-321 Storyboarding ILL-359 Digital Landscape ILL-333 Style TERM 6 * ILL-356 Visual Development ILL-363 6th Term Review ILL-370 Intro to Matte Painting TDS Transdisciplinary Studio
3 3 3
TERM 6 * ILL-377 Illus for Publishing OR ILL-357 Childrens Book Illustration OR CGR-261 Motion Design 2 3 ILL-363 6th Term Review 0 TDS Transdisciplinary Studio 3 TERM 7 * PRP-203 Business 101 ILL-318 Notorious! ILL-421 Supersized OR CGR-205 3D Motion Graphics OR ILL-325 Nude Body TERM 8 * ILL-453 Portfolio Design Lab
3 3
3 3 3 3
3 0 3 3
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Student Voices
MY WORKS AESTHETIC HAS BEEN CREATED BY THE PERFECT MIXTURE OF INSTRUCTORS, FRIENDS AND MISTAKES.
PING ZHU TERM 8
094
ILLUSTRATION
I AM NOTHING LIKE I EXPECTED TO BE WHEN I FIRST STARTED AT ART CENTER. BACK THEN, I WASNT A STRONG DRAWER ACTUALLY, I STUDIED MATHEMATICSBUT I HAD A LOT OF IDEAS. WHETHER I REALIZED IT THEN OR NOT, I CAME TO ART CENTER WITH A CERTAIN SET OF TALENTS THAT WERENT YET DEVELOPED. AFTER BEING HERE A WHILE, I BEGAN TO FUSE TOGETHER THE THINGS I ENJOYILLUSTRATION, DESIGN AND GEOMETRY INTO AN UNEXPECTED LOOK AND FEEL THAT I LOVE. ART CENTER DOES A GOOD JOB OF LETTING PEOPLE LIKE ME REALIZE THEIR POTENTIAL. THE FACULTY AND RIGOR OF THE PROGRAM GUIDES YOU IN A WAY THAT YOU FIND YOUR TRUE CREATIVE IDENTITY. PATRICK HRUBY TERM 8
ARTCENTER.EDU
GREATER L.A.
Photography and Imaging
WHY LOS ANGELES? 1960: THE YEAR PHOTOGRAPHER JULIUS SHULMAN PHOTOGRAPHED PIERRE KOENIGS CASE STUDY HOUSE #22. WHY LOS ANGELES? 1976: STEVEN WHITE OPENS THE FIRST GALLERY IN L.A. EXCLUSIVELY DEDICATImage will be the most ED TO PHOTOGRAPHY. important document of the 21st century, functioning at the visible convergence of all content, commerce, communication, identity and culture.
Dennis Keeley
Department Chair
An estimated 300 million pictures are taken each day around the world, signaling the ubiquitous role of photography in our culture. But while almost anyone these days can take a photograph, very few achieve the status of great photography. Art Centers Photography and Imaging Department helps photographers acquire the skills and creative fluency needed to create resonant visual documents, not just well crafted representations. Images that can travel through space and time without losing their significancewhether they are displayed on a cell phone or the side of a building. In addition to conceptual and studio classes, our students study technology, fine art, history and advertising, as well as courses in business planning, branding and marketing. Students also have opportunities to partner with peers from other majors through individual projects and corporate-sponsored Transdisciplinary Studios. Students from the program also collaborate with Designmatters on projects that benefit humanitarian organizations and provide insight into issues of social significance. Our state-of-the-art traditional and digital labs support a wide variety of photographic processes, and our students stay abreast of the continuous technical transformations impacting photography including the ways images are captured, enhanced and distributed. Our program also dissects issues like authorship and originality in relation to digital technologies. As a Photography and Imaging student, you will come to understand that what occurs before the click of a button is just as significantif not more sothan what happens after. Our faculty of accomplished photographers will guide you in your development, helping you to articulate your ideas and specific intentions within the larger context of image makings future.
ARTCENTER.EDU/PHOTO
094
PHOTOGRAPHY AND IMAGING FACULTY ILLUSTRATION
I AM NOTHING LIKE I EXPECTED TO BE WHEN I FIRST STARTED AT ART CENTER. BACK THEN, I WASNT A STRONG DRAWER ACTUALLY, I STUDIED MATHEMATICSBUT I HAD A LOT OF IDEAS. WHETHER I REALIZED IT THEN OR NOT, I CAME TO ART CENTER WITH A CERTAIN SET OF TALENTS THAT WERENT YET DEVELOPED. AFTER BEING HERE A WHILE, I BEGAN TO FUSE TOGETHER THE THINGS I ENJOYILLUSTRATION, DESIGN AND GEOMETRY INTO AN UNEXPECTED LOOK AND FEEL THAT I LOVE. ART CENTER DOES A GOOD JOB OF LETTING PEOPLE LIKE ME REALIZE THEIR POTENTIAL. THE FACULTY AND RIGOR OF THE PROGRAM GUIDES YOU IN A WAY THAT YOU FIND YOUR TRUE CREATIVE IDENTITY. PATRICK HRUBY TERM 8
Core Faculty Paul Bielenberg Ann Elliot Cutting Sam Davis Libero DiZinno Garvin Eddy Patrick Pato Hebert Charlie Holland Paul Jasmin Dennis Keeley, Chair Michael Kochman Steve LaVoie Pete McArthur Ken Merfeld Paul Ottengheime Ibarionex Perello Patti Peters David Safian Josh Sanseri Jeff Sedlik Norma Smith Pete Suszynski Mark Takeuchi Ming Tshing Everard Williams Josh Withers Ewa Wojciak Visiting Faculty Mark Edward Harris Jona Frank Mona Kuhn David Kelley David Strick Frank Ockenfels Norman M. Klein Pornchai Mittongtare Kevin Reagan Tom Reccion Jerry Couvousier Sean Kernan Andrew Southam Sharon Cavanagh Carol Lefluffy Garvin Eddy
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Image will be the most important document of the 21st century, functioning at the visible convergence of all content, commerce, communication, identity and culture. Dennis Keeley
Department Chair
An estimated 300 million pictures are taken each day around the world, signaling the ubiquitous role of photography in our culture. But while almost anyone these days can take a photograph, very few achieve the status of great photography. Art Centers Photography and Imaging Department helps photographers acquire the skills and creative fluency needed to create resonant visual documents, not just well crafted representations. Images that can travel through space and time without losing their significancewhether they are displayed on a cell phone or the side of a building. In addition to conceptual and studio classes, our students study technology, fine art, history and advertising, as well as courses in business planning, branding and marketing. Students also have opportunities to partner with peers from other majors through individual projects and corporate-sponsored Transdisciplinary Studios. Students from the program also collaborate with Designmatters on projects that benefit humanitarian organizations and provide insight into issues of social significance. Our state-of-the-art traditional and digital labs support a wide variety of photographic processes, and our students stay abreast of the continuous technical transformations impacting photography including the ways images are captured, enhanced and distributed. Our program also dissects issues like authorship and originality in relation to digital technologies. As a Photography and Imaging student, you will come to understand that what occurs before the click of a button is just as significantif not more sothan what happens after. Our faculty of accomplished photographers will guide you in your development, helping you to articulate your ideas and specific intentions within the larger context of image makings future.
ARTCENTER.EDU/PHOTO
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PHOTOGRAPHY AND IMAGING
1 STUDENT ANDREW HARA TERM FIFTH TITLE UNTITLED CLASS PERSONAL PROJECT
ARTCENTER.EDU
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2 STUDENT GISELLE HERNANDEZ TERM FIRST TITLE UNTITLED CLASS IMAGING 1 INSTRUCTOR PATTI PETERS
ARTCENTER.EDU/PHOTO
098
3 STUDENT RYAN CLEVELAND TERM FIFTH TITLE IS IT EDIBLE? CLASS FOOD PHOTOGRAPHY INSTRUCTOR PORNCHAI MITTONGTARE
ARTCENTER.EDU
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4 STUDENT JEDEDIAH JOHNSON TERM SEVENTH TTTLE UNTITLED CLASS PERSONAL PROJECT
ARTCENTER.EDU/PHOTO
100
5 STUDENT BRENDAN KLEIN TERM FIFTH TITLE UNTITLED CLASS PERSONAL PROJECT 6 STUDENT ROMAN KRAJEWSKI TERM SEVENTH TITLE UNTITLED CLASS PERSONAL PROJECT
ARTCENTER.EDU
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7 STUDENT SHAINA KASANOFF TERM SECOND TITLE UNTITLED CLASS IMAGING 2 INSTRUCTOR JOSH WITHERS
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Course Requirements
3 3 3 3 3
TERM 1 PHO-102 Concept FND-103 Design 1 PHO-161 Imaging 1 PHO-221 Advanced Photographic Process 1 HMN-100 Writing Studio TERM 2 PHO-160 Core Lighting PHO-107 View Camera PHO-201 Composition PHO-222 Advanced Photographic Process 2 PHO-211 Imaging 2 CUL-220 Intro to Modernism TERM 3 PRP-257 Color PHO-217 Portrait Lighting PHO-319 Imaging 3 CUL-235 Critical Practices 1 Prp-260 Professional Presentation PHO-200 3rd Term Review
TERM 4 PHO-311 Still Life PHO-154 Fine Art Photography PHO-251 Architecture Advanced Critical Practice ** CUL-216 Hist of Photography 1 TERM 5 PHO-312 Design 2: Color Theory PHO-258 Location Photography PRP-345 Business & Professional Practice CUL-218 Hist of Photography 2 PHO-300 5th Term Review TERM 6 PHO-360 Portfolio Development PHO-346 Marketing & Self Promotion PHO-313 Stock Photography TDS Transdisciplinary Studio TERM 7 * PHO-411 Photo Production PHO-457 Working Photographer PHO-400 7th Term Review TERM 8 * PHO-461 Final Crit
3 3 3 3
3 3 3 3 3 3
3 3 3 3 0
3 3 3 3
3 3 3 3 3 0
3 3 0
Additional required elective units in Humanities and Design Sciences: Human Electives 9 Culture Electives 3 Material Environment Electives 6 Professional Practice Electives 3 Studio Elective Units 18 Total Required Units 135 * Studio electives will be added to schedule to meet studio requirements. ** Take 3 units from Advanced Critical Practice options list.
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Student Voices
I LIKED THAT ART CENTER WAS SERIOUS AND THAT EVERYBODY SEEMED SO BUSY. I REMEMBER WALKING PAST THE SHOPS AND LABS. I SAW THAT EVERYBODY WAS DOWN TO BRASS TACKS AND BUSINESS, AND THAT THEY WERE HERE TO LEARN AND WORK HARD. THAT WAS IMPORTANT TO ME.
SARAH ROACH TERM 8
ARTCENTER.EDU/PHOTO
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MY FATHER WAS AN ENGINEER FOR THE AEROSPACE INDUSTRY AND TRANSFERRED FREQUENTLY FOR WORK, SO I LIVED IN SEVERAL STATES BY THE TIME I WAS 16. WHENEVER WED RELOCATE, MY FATHER, ALSO AN AMATEUR PHOTOGRAPHER, WOULD GIVE ME SOME OF HIS CAMERA EQUIPMENT. THAT ENDED UP BECOMING MY FRIEND. I USED HIS CAMERA TO EXPLORE MY NEW NATURAL SURROUNDINGS. TO THIS DAY, I FIND MYSELF RETURNING TO THE WOODS FOR MY WORK. ONE GREAT THING ABOUT PHOTOGRAPHY IS THAT IM NOT BOUND TO MY COMPUTER. ON THE WEEKENDS I CAN ROCK CLIMB, CAMP OR SURF AND STILL BE SHOOTING. AS A PHOTOGRAPHER, YOU HAVE TO BE READY FOR YOUR SUBJECT TO OPEN UP. YOU CANT ALWAYS BE IN CONTROL. YOU HAVE TO TAKE RISKS, AND SOMETIMES YOU JUST HAVE TO MAKE MISTAKES. NOT EVERY ROLL OF FILM NEEDS TO TURN OUT PERFECTLY. YOU HAVE TO LET THOSE HAPPY LITTLE ACCIDENTS HAPPEN. ALYSSA LAVINE TERM 6
ARTCENTER.EDU
GREATER L.A.
Product Design
WHY LOS ANGELES? A THRIVING START-UP CULTURE THAT IS RICH WITH LOCAL FABRICATORS. WHY LOS ANGELES? 17TH LARGEST ECONOMY IN THE WORLD AND THE GATEWAY TO THE PACIFIC RIM.
Todays product designers must be creative citizens who are able to visualize a new economy and material culture, while translating their vision into meaningful products, systems and experiences. Karen Hofmann
Department Chair At Art Center, our Product Design students learn that good design is about combining functionality, relevance and visual appealand that social responsibility is part of commercial viability. Corporations and organizations are increasingly recognizing the importance of comprehensive design in achieving success, while society as a whole is beginning to understand the vital role design can play in improving lives. As consumer culture is shifting, the marketplace is demanding products that minimize environmental impact, from production to disposal, while at the same time seeking an emotional connection with the objects that surround them. Our department prepares students to meet these needs on both local and global scales, while giving them the tools to visualize the future. Our curriculum provides a foundation in the design sciences, including human factors, manufacturing processes, human-centered research methodologies and design management. At the same time, students gain a comprehensive understanding of materials technologies, global trends and sustainability through access to our state-of-the-art research lab, CMTEL (Color, Materials and Trends Exploration Laboratory). Through Transdisciplinary Studios, often sponsored by corporate clients, and Designmatters projects on behalf of humanitarian organizations, our students apply their skills for commercial and noncommercial causes. They also deepen their understanding of business processes through our partnership with INSEAD, a leading business school with campuses in Fontainebleau, France, and Singapore. Participating students collaborate with MBA students on a creative project and attend graduate-level business courses in finance, marketing and other subjects. Our entrepreneurial component that is threaded into upper term studios provides further education in the creation of business plans and profitable product lines.
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PHOTOGRAPHY AND IMAGING PRODUCT DESIGN FACULTY
Core Faculty Nathan Allen Lilianaa Becerra Frido Beisert Katherine Bennett Thomas Bertling Krystina Castella James Chu Grant Delgatty Ron Dickson Laura Dye Gaylord Eckles Jeff Higashi Karen Hofmann, Chair Derek Howard Wendy Lee Heidrun Mumper-Drumm Javier Palomares Justine Parish Griselda Sastrawinata Bob Schureman Wakako Takagi Robert Thompson
MY FATHER WAS AN ENGINEER FOR THE AEROSPACE INDUSTRY AND TRANSFERRED FREQUENTLY FOR WORK, SO I LIVED IN SEVERAL STATES BY THE TIME I WAS 16. WHENEVER WED RELOCATE, MY FATHER, ALSO AN AMATEUR PHOTOGRAPHER, WOULD GIVE ME SOME OF HIS CAMERA EQUIPMENT. THAT ENDED UP BECOMING MY FRIEND. I USED HIS CAMERA TO EXPLORE MY NEW NATURAL SURROUNDINGS. RETURN TO THIS DAY, I FIND MYSELF RETURNING TO THE WOODS FOR MY WORK. ONE GREAT THING ABOUT PHOTOGRAPHY IS THAT IM NOT BOUND TO MY COMPUTER. ON THE WEEKENDS I CAN ROCK CLIMB, CAMP OR SURF AND STILL BE SHOOTING. AS A PHOTOGRAPHER, YOU HAVE TO BE READY FOR YOUR SUBJECT TO OPEN UP. YOU CANT ALWAYS BE IN CONTROL. YOU HAVE TO TAKE RISKS, AND SOMETIMES YOU JUST HAVE TO MAKE MISTAKES. NOT EVERY ROLL OF FILM NEEDS TO TURN OUT PERFECTLY. YOU HAVE TO LET THOSE HAPPY LITTLE ACCIDENTS HAPPEN. ALYSSA LAVINE TERM 6
VISIT US ON FLICKR TINYURL.COM/38ESKQ7
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Product Design
Todays product designers must be creative citizens who are able to visualize a new economy and material culture, while translating their vision into meaningful products, systems and experiences. Karen Hofmann
Department Chair
VISIT OUR BLOG TINYURL.COM/37Y992B
At Art Center, our Product Design students learn that good design is about combining functionality, relevance and visual appealand that social responsibility is part of commercial viability. Corporations and organizations are increasingly recognizing the importance of comprehensive design in achieving success, while society as a whole is beginning to understand the vital role design can play in improving lives. As consumer culture is shifting, the marketplace is demanding products that minimize environmental impact, from production to disposal, while at the same time seeking an emotional connection with the objects that surround them. Our department prepares students to meet these needs on both local and global scales, while giving them the tools to visualize the future. Our curriculum provides a foundation in the design sciences, including human factors, manufacturing processes, human-centered research methodologies and design management. At the same time, students gain a comprehensive understanding of materials technologies, global trends and sustainability through access to our state-of-the-art research lab, CMTEL (Color, Materials and Trends Exploration Laboratory). Through Transdisciplinary Studios, often sponsored by corporate clients, and Designmatters projects on behalf of humanitarian organizations, our students apply their skills for commercial and noncommercial causes. They also deepen their understanding of business processes through our partnership with INSEAD, a leading business school with campuses in Fontainebleau, France, and Singapore. Participating students collaborate with MBA students on a creative project and attend graduate-level business courses in finance, marketing and other subjects. Our entrepreneurial component that is threaded into upper term studios provides further education in the creation of business plans and profitable product lines.
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PRODUCT DESIGN
1 STUDENT CHRISTOPHER WU TERM FOURTH TITLE KNEELCHAIR CLASS PRODUCT 2 INSTRUCTOR FRIDOLIN BEISERT AWARD IDEA AWARD 2009: SILVER
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2 STUDENT JAMES YOO TERM FOURTH TITLE SNOWBOARD BOOT CLASS PRODUCT 2 INSTRUCTOR FRIDOLIN BEISERT AWARD IDEA AWARD 2010: BRONZE
ARTCENTER.EDU/PROD
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PRODUCT DESIGN
3 STUDENT BRYCE BUTCHER TERM SEVENTH TITLE PHILIPS DIABETIC MONITOR CLASS PRODUCT BRANDING INSTRUCTOR JAMES CHU 4 STUDENT VINH PHO TERM FOURTH TITLE ACTION SPORTS HELMET CLASS PRODUCT 2 INSTRUCTOR FRIDOLIN BEISERT 5 STUDENT JAMES VAN DEN HEUVEL TERM SEVENTH TITLE ARTEMIDE LIGHT COLOR CHANGING LAMP CLASS PRODUCT BRANDING INSTRUCTOR JAMES CHU
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6 STUDENT CARLOS MENDEZ TERM EIGHTH TITLE VIOLIN CLASS PRODUCT DEVELOPMENT INSTRUCTOR GRANT DELGATTY
ARTCENTER.EDU/PROD
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PRODUCT DESIGN
7 STUDENT SCOTT SCHENONE TERM SIXTH TITLE THE PROCESS OF PEELING A CARROT CLASS CREATIVE STRATEGIES INSTRUCTOR FRIDOLIN BEISERT
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ARTCENTER.EDU/PROD
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Course Requirements
3 3 3 3 2 2 3
PRODUCT DESIGN
TERM 1 IDF-105 Product Design 1: Form & Space FND-112 Design Fundamentals 1 IDF-102 Viscomm Fundamentals 1 IDF-103 3D Fundamentals 1 IDF-112 Study Models IDF-114 Way Things Work HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive TERM 2 IDF-151 Product Design 2: Function FND-165 Design Fundamentals 2 IDF-152 Viscomm Fundamentals 2 IDF-153 3D Fundamentals 2 PRP-201 Art of Research CGR-101 Digital Design TERM 3 PRD-212 Product Design 3: Process PRD-104 ID Form Language PRD-202 Visual Communication 3 FND-201 Rapid Prototyping CUL-214 History of Industrial Design CUL-220 Intro to Modernism PRD-200 3rd Term Review
TERM 4 PRD-215 Product Design 4: Concept PRD-254 ID Graphics PRD-252 Visual Communication 4 PRD-255 Solid Modeling MAT-206 Materials & Methods TERM 5 PRD 253 Product Design 5: Interaction PRD-317 ID Interface Design PRD-404 Industrial Design Research PRD-302 Visual Communication 5 PRD-301 Internship Portfolio MAT-313 Design for Sustainability TERM 6 PRD-404 Product Design 6: Sustainability PRD-356 ID Insights PRP-350 The Business of Design HMN-202 Human Factors & Design Psych PRD-350 6th Term Review
3 3 3 3 3
3 3 3 3 2 3
3 3 3 3 3 3
3 3 3 3 0
3 3 3 3 3 3 0
TERM 7 * PRD-426 Product Design 7: Branding 3 TDS Transdisciplinary Studio 3 PRP-351 The Design Professional 3 TERM 8 * PRD-455 Product Design 8: Senior Projects PRD-461 ID Leadership PRD-454 Portfolio Graduate Show Review
3 3 3
Additional required elective units in Humanities and Design Sciences: Human Electives 3 Culture Electives 6 Material Environment Electives 3 Professional Practice Electives 3 Studio Elective Units 12 Total Required Units 144 * Studio electives will be added to schedule to meet studio requirements. Key Electives: Creative Strategies Toy Design Apparel Concept Design Materials & Explorations Color, Material & Finish Workshop
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Student Voices
COMING TO ART CENTER HAS TOTALLY CHANGED MY LIFE. ART CENTER HAS BROADENED MY PERSPECTIVE ON DESIGN AND ITS ROLE IN THE WORLD, ENCOURAGED ME AS A DESIGNER, GIVEN ME EXPERIENCES THAT WILL FURTHER MY FUTURE CAREER, AND INTRODUCED ME TO FRIENDS THAT I KNOW ILL KEEP FOR A LIFETIME.
TATSURO USHIYAMA TERM 8
ARTCENTER.EDU/PROD
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PRODUCT DESIGN
WHAT MAKES ART CENTER SO SPECIAL IS THAT IT HAS SUCH HIGH STANDARDS WITH A GLOBAL VISION THEY LOOK TO PRODUCE DESIGN LEADERS. THESE DAYS, PEOPLE ARE AMAZED BY THE EXTRAORDINARY. ART CENTER STRIVES TO ENLARGE YOUR VISION TO PUSH YOU PAST AVERAGE OR GOOD INTO THE WORLD OF THINKING BIGGER. I LEARNED THAT GROWING AS A DESIGNER IS NOT JUST ABOUT TECHNIQUE, BUT ABOUT CREATING RELEVANT IDEAS. JAKE EMMERT TERM 7
ARTCENTER.EDU
GREATER L.A.
Transportation Design
WHY LOS ANGELES? 20+ ADVANCED AUTOMOTIVE DESIGN STUDIOS. WHY LOS ANGELES? CALIFORNIAS OLDEST FREEWAY THE ARROYO SECO PARKWAY CONNECTS PASADENA AND LOS ANGELES.
Our students have a keen interest in the important challenges facing all aspects of transportation and see these challenges as opportunities to utilize technology as a stimulus for creative and innovative design solutions. Stewart Reed
Department Chair
The challenges to the automotive industry present tremendous opportunities for transportation designers. Art Centers Transportation Design Department has long served as a catalyst for innovation, and more than 60 years after its creation, our program continues to be the best educational environment for designers seeking transportation design careers. Our curriculum emphasizes key topics such as sustainable mobility and the implications of brand and product life cycle, in addition to styling, comfort, safety and usability. Our students not only gain fluency in drawing and both physical and digital modeling skills, but develop an understanding of things such as vehicle architecture, materials and process, and aerodynamics. Exploring the balance between form and function, students develop the ability to create vehicle concepts with distinct personality and improved function. While our department is best known for the influence our alumni have on automotive design, in recent years our program has taken a broader view of transportation, preparing students for careers in motorcycle, marine, aircraft, commercial transport, personal mobility and public transit design. The creation of a vehicle is a team effort, and our students have opportunities to collaborate with colleagues in a range of disciplines through Transdisciplinary Studios. Also, our location in Southern Californiaclose to more than 20 advanced automotive design studios as well as companies leading the emerging fields of new mobility and alternative energyoffers distinct advantages, including unique access to many professional designers who serve as part-time faculty and guest speakers, as well as opportunities for internships.
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PRODUCT TRANSPORTATION DESIGN FACULTY DESIGN
Core Faculty Nathan Allen Eric Bauer Thomas Bertling Rob Blum Dennis Campbell Ian Cartabiano Ron Dickson Marek Djordjevic Gaylord Eckles Dave Hackett Jason Hill Ricky Hsu WHATTisha Johnson MAKES ART CENTER SO SPECIAL KimTHAT IT Richard IS HAS John Krsteski SUCH HIGH STANDARDS WITHBumsuk LimVISION THEY A GLOBAL LOOKStuart Macey DESIGN TO PRODUCE LEADERS. Marek DAYS, David THESE PEOPLE ARE AMAZED BY THE Jae Min EXTRAORDINARY. ART CENTER Eric Noble STRIVES TO ENLARGE YOUR David OConnell VISION TO PUSH YOU PAST Richard Pietruska AVERAGE OR GOOD INTO THE Stewart Reed, Chair WORLD OF THINKING BIGGER. Nikola Stefanov I LEARNED THAT GROWING AS ABlair Taylor IS NOT JUST DESIGNER Mike Tsay ABOUT TECHNIQUE, BUT Geoff Velazco ABOUT CREATING RELEVANT Geoff Wardle IDEAS.
JAKE EMMERT TERM 7
VISIT US ON FLICKR TINYURL.COM/353ROEU
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Our students have a keen interest in the important challenges facing all aspects of transportation and see these challenges as opportunities to utilize technology as a stimulus for creative and innovative design solutions. Stewart Reed
Department Chair
The challenges to the automotive industry present tremendous opportunities for transportation designers. Art Centers Transportation Design Department has long served as a catalyst for innovation, and more than 60 years after its creation, our program continues to be the best educational environment for designers seeking transportation design careers. Our curriculum emphasizes key topics such as sustainable mobility and the implications of brand and product life cycle, in addition to styling, comfort, safety and usability. Our students not only gain fluency in drawing and both physical and digital modeling skills, but develop an understanding of things such as vehicle architecture, materials and process, and aerodynamics. Exploring the balance between form and function, students develop the ability to create vehicle concepts with distinct personality and improved function. While our department is best known for the influence our alumni have on automotive design, in recent years our program has taken a broader view of transportation, preparing students for careers in motorcycle, marine, aircraft, commercial transport, personal mobility and public transit design. The creation of a vehicle is a team effort, and our students have opportunities to collaborate with colleagues in a range of disciplines through Transdisciplinary Studios. Also, our location in Southern Californiaclose to more than 20 advanced automotive design studios as well as companies leading the emerging fields of new mobility and alternative energyoffers distinct advantages, including unique access to many professional designers who serve as part-time faculty and guest speakers, as well as opportunities for internships.
VIEW VIDEO TINYURL.COM/3YF336B
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TRANSPORTATION
1 STUDENT KIMBERLY WU TERM EIGHTH TITLE JOY CONCEPT VEHICLE CLASS SENIOR STUDIO INSTRUCTORS DAVE HACKETT & MAREK DJORDJEVIC 2 STUDENT KIMBERLY WU TERM EIGHTH TITLE INTERIOR CONCEPT CLASS SENIOR STUDIO INSTRUCTORS DAVE HACKETT & MAREK DJORDJEVIC
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3 STUDENT JEAN PARK TERM EIGHTH TITLE VOLKSWAGON POWER SUIT CONCEPT VEHICLE CLASS SENIOR STUDIO INSTRUCTORS DAVE HACKETT & MAREK DJORDJEVIC
118
TRANSPORTATION
4 STUDENT SALVADOR GONZALEZ TERM SEVENTH TITLE YAMAHA CONCEPT BIKE CLASS PERSONAL MOBILITY INSTRUCTOR BUMSUK LIM 5 STUDENT GARY SHIU TERM SIXTH TITLE BMW X5 CONCEPT VEHICLE CLASS SPONSORED PROJECT INSTRUCTORS TISHA JOHNSON & BLAIR TAYLOR
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6 STUDENT JAKE LONIAK TERM SEVENTH TITLE DEUS EX MACHINA CONCEPT VEHICLE CLASS PERSONAL MOBILITY INSTRUCTOR BUMSUK LIM
120
TRANSPORTATION
7 STUDENT MARTIN ROJAS TERM EIGHTH TITLE SPYKER CONCEPT VEHICLE CLASS SENIOR STUDIO INSTRUCTORS DAVE HACKETT & MAREK DJORDJEVIC
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122
Course Requirements
3 3 3 3 1 1 3 1
TRANSPORTATION
TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive FND-112 Design Fundamentals 1 IDF-102 Visual Communication 1 IDF-111 Design Process 1 IDF-112 Study Models IDF-114 Way Things Work IDF-103 3D Fundamentals 1 IDF-116 Way Things Look TERM 2 PRP-201 Art of Research OR PRP-200 Art of Research CGR-1O1 Digital Design FND-165 Design Fundamentals 2 IDF-151 Design Process 2 IDF-152 Visual Communication 2 IDF-153 3D Fundamentals 2 TERM 3 CUL-220 Intro to Modernism HMN-202 Human Factors & Design Psych TRN-210 Auto Des 3: Vehicle Arch TRN-211 Auto Des 3: Exterior TRN-212 Auto Des 3: Interior TRN-213 Auto Des 3: Vehicle Tech TRN-215 Visual Communication 3 TRN-249 3rd Term Review
TERM 4 CUL-210 Hist of Auto Design TRN-272 Auto Des 4: Vehicle Arch TRN-270 Auto Des 4: Exterior TRN-271 Auto Des 4: Interior TRN-273 Auto Des 4: Vehicle Tech TRN-252 Visual Communication 4 TRN-320 3D Physical 4 TRN-321 3D Digital 4 TERM 5 MAT-200 Auto Engineering MAT-206 Materials & Methods 1 TRN-306 Visual Communication 5 TRN-354 Mobility Design 1 TRN-355 Mobility Design 2 TRN-421 3D Digital 5 TRN-349 5th Term Review TERM 6 TRN-352 Visual Communication 6 TRN-330 Auto Design 6: Interior Design TRN-331 Insights PRP-350 Design Management 1 TERM 7 * TRN-406 Auto Product Planning TRN-402 Visual Communication 7 TRN-413 Trans Design Studio TRN-449 7th Term Review TERM 8 * TRN-466 Trans Design 8: Interior Design TRN-467 Trans Design 8: Exterior Design
3 2 2 1 1 3 3 3
3 3 3 3 3 3
3 3 3 3 3 3 0
3 3 3 3
3 3 2 2 2 1 3 0
3 3 3 0
3 3
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Student Voices
PEOPLE MAY CALL THIS WORK, BUT WHO ELSE GETS TO SPEND ALL NIGHT DRAWING AND MODELING CARS OUT OF CLAY? ITS SO MUCH FUN.
ONDREJ JIREC TERM 4
124
TRANSPORTATION DESIGN
WHEN I FIRST WALKED THROUGH ART CENTERS STUDENT GALLERY, I WAS CERTAIN TRANSPORTATION DESIGN WOULDNT INTEREST ME. I WAS DRAWN MORE TO GRAPHIC DESIGN AND PRODUCT DESIGN. BEFORE APPLYING TO THE COLLEGE, I TOOK AN INDUSTRIAL DESIGN CLASS THROUGH ART CENTER AT NIGHT, WHICH FOCUSED ON TRANSPORTATION DESIGN FOR HALF OF THE COURSE. AS THE CLASS WENT ALONG, I SURPRISED MYSELF BY FINDING THE PROCESS OF DESIGNING CARS VERY SATISFYING. NOT ONLY WAS IT CHALLENGING, BUT IT ALSO INVOLVED MORE SURFACING, WHICH TIED INTO THE SCULPTING I ENJOYED DOING IN HIGH SCHOOL IN TAIWAN. TAKING CLASSES OUTSIDE MY MAJOR REALLY INFLUENCED MY WORK. MY DESIGNS USE A LOT OF ANIMATION AND WATERCOLOR, WHICH GIVES THEM A DIFFERENT LOOK. AND GETTING FEEDBACK FROM OTHER MAJORS WAS ALSO HELPFUL. AFTER ALL, TRANSPORTATION DESIGNERS ARENT THE ONLY PEOPLE BUYING CARS. KERRIN LIANG TERM 8
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ADVERTISING SEAN OHLENKAMP BFA 2003 TITLE NISSAN ALTIMA SE-R. MAKE WAY
Undergraduate Alumni
ENTERTAINMENT DESIGN RAJ RIHAL BFA 2008 TITLE HATHI
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UNDERGRADUATE ALUMNI
ENVIRONMENTAL DESIGN CORY GROSSER BS 2001 TITLE INTERSECTION FOR MDF ITALIA, 2007
FILM JEREMY M. LUNDBORG BFA 2009 TITLE 1 COMMAND OR TRUTH, 2008 2 EMILIANO, 2009
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FINE ART JENNIFER STEINKAMP BFA 1989 & MFA 1991 TITLE 1 DAISY BELL, 2008 DIMENSIONS: VARIABLE, APPROX. 8'x 26' 2 X-ROOM, 2000 DIMENSIONS: IMAGES 4.5'x 12' , ROOM 35'x 31' SOUNDTRACK: ANDREW BUCKSBARG
GRAPHIC DESIGN RAFAEL ESQUER BFA 1996 TITLE BJRK COCOON ALBUM COVER, 2002
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UNDERGRADUATE ALUMNI
ILLUSTRATION OWEN FREEMAN BFA 2009 TITLE JANUARY JONES" PROMOTIONAL SERIES OPENER FOR HEFLIN REPS
PHOTOGRAPHY AND IMAGING RICHARD CHOI BFA 2009 TITLE AMISH BOY ON HORSE
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PRODUCT DESIGN YVES BHAR BS 1991 TITLE 1 ONE LAPTOP PER CHILD (OLPC) X0-3 VERSION 2 HERMAN MILLER LEAF LAMP IMAGES: COURTESY OF FUSEPROJECT
TRANSPORTATION DESIGN MICHELLE CHRISTENSEN BS 2005 TITLE ZDX SHOWCAR FROM THE NEW YORK INTERNATIONAL AUTOSHOW, 2009
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Graduate Programs
Art Center offers graduate degrees through four distinct programs: Art, Broadcast Cinema, Industrial Design and Media Design. Built on intensive studio practice and rigorous academic coursework, the Graduate Art program prepares artists of all genres to successfully enter the contemporary art arena. With creative freedom and experimentation as its hallmarks, the Graduate Broadcast Cinema program encourages filmmakers to invent new forms of programming and methods of storytelling. Practicing a systems-level methodology that balances the human, business and technological aspects of any challenge, Graduate Industrial Design students conceive and develop resilient business model-based opportunities. By following their curiosity and developing new expertise, Graduate Media Design students explore the future of communication within a context of cultural and technological change.
ARTCENTER.EDU
GREATER L.A.
Graduate Art
WHY LOS ANGELES? 350+ ALTERNATIVE EXHIBITION SPACES AND GALLERIES, AS WELL AS A CONCENTRATION OF ART SCHOOLS. WHY LOS ANGELES? 114 COLORFUL AND LIVELY NEIGHBORHOODS ECHO PARK, VENICE, KOREATOWN, HOLLYWOOD, We began LAKE, LITTLE SILVER our program in TOKYO, the extremely 1986, and CULVER CITY AND CHINATOWN. diverse works of our alumni are represented in many, if not most, of the worlds museums of contemporary and modern art.
Jeremy Gilbert-Rolfe
Department Chair
Art Centers Graduate Art Program is built on intensive studio practice and rigorous academic coursework, made possible by an extraordinarily low faculty-to-student ratio that provides students with the help they need. Our faculty and students are artists of all genresfilm, video, photography, painting, sculpture, performance and installation. Many of our alumni have achieved national and international acclaim, and they often share their insights and expertise as visiting faculty and guest lecturers. Much of our teaching consists of one-on-one meetings between students and faculty. Our full-time faculty is composed of a core faculty of seven artists, including the Department Chair, three theorists and two artists. In addition, approximately 20 artists, critics and theorists serve as part-time, adjunct faculty. Students are required to meet with core faculty, who give them a collective grade for their work at the end of each of the first four terms. For the final two terms, students are graded by a thesis committee consisting of three core faculty members plus a faculty member chosen by the student. Academic work may be folded into the curriculum of a workshop at the Chairs discretion. Also, we strongly encourage (and occasionally require) students to participate in one or more of the film/video, painting and sculpture workshops. In the interest of maximizing exposure to multiple perspectives and encouraging discussions, workshops are usually taught by groups of artists and theorists. In addition to successfully completing six terms of course work, MFA applicants exhibit a solo show of their most recent work during their sixth term, delivering a written thesis on their work or a closely related subject to their committee at the same time. Both the show and the thesis are then defended by the student at a final public review with the core and full-time faculty.
ARTCENTER.EDU/GRADART
GRADUATE ART FACULTY
Core Faculty Lita Albuquerque Walead Beshty Stan Douglas Jeremy Gilbert-Rolfe, Chair Patti Podesta Diana Thater Annette Weisser Full-Time Faculty Bruce Hainley Gabrielle Jennings Taft Green Timothy Martin Jason Smith 2010-2011 Visiting Artist Karina Nimmerfall Adjunct Faculty Tom Allen Skip Arnold Jack Bankowsky Uta Barth Cindy Bernard Fred Dewey Lecia Dole-Recio Kim Fisher Amy Gerstler M. A. Greenstein James Hayward Patrick Hill Evan Holloway Alice Knitz Jennifer Krasinski Kelly Mason Terry Myers Jim Shaw Pauline Stella-Sanchez Jan Tumlir Benjamin Weissman John Welchman
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Graduate Art
We began our program in 1986, and the extremely diverse works of our alumni are represented in many, if not most, of the worlds museums of contemporary and modern art. Jeremy Gilbert-Rolfe
Department Chair
STUDENT TAFT GREEN TITLES LAG (FOREGROUND) TENSE (BACKGROUND)
Art Centers Graduate Art Program is built on intensive studio practice and rigorous academic coursework, made possible by an extraordinarily low faculty-to-student ratio that provides students with the help they need. Our faculty and students are artists of all genresfilm, video, photography, painting, sculpture, performance and installation. Many of our alumni have achieved national and international acclaim, and they often share their insights and expertise as visiting faculty and guest lecturers. Much of our teaching consists of one-on-one meetings between students and faculty. Our full-time faculty is composed of a core faculty of seven artists, including the Department Chair, three theorists and two artists. In addition, approximately 20 artists, critics and theorists serve as part-time, adjunct faculty. Students are required to meet with core faculty, who give them a collective grade for their work at the end of each of the first four terms. For the final two terms, students are graded by a thesis committee consisting of three core faculty members plus a faculty member chosen by the student. Academic work may be folded into the curriculum of a workshop at the Chairs discretion. Also, we strongly encourage (and occasionally require) students to participate in one or more of the film/video, painting and sculpture workshops. In the interest of maximizing exposure to multiple perspectives and encouraging discussions, workshops are usually taught by groups of artists and theorists. In addition to successfully completing six terms of course work, MFA applicants exhibit a solo show of their most recent work during their sixth term, delivering a written thesis on their work or a closely related subject to their committee at the same time. Both the show and the thesis are then defended by the student at a final public review with the core and full-time faculty.
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GRADUATE ART
1 STUDENT HEATHER COOK TITLE 2006, BLEACH ON COTTON JERSEY WITH PUSH PINS, 67 X 41.5" 2 STUDENT GREG MACLAUGHLIN TITLE SUSPENDED FRAGMENTATION
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Its absurd to say it this way, but Art Centers MFA program is quite simply a wonderful place. Its given me the peace of mind and confidence to know that, though Im presently digging ditches and painting houses, I am and always will be an artist. It was during my Art Center candidacy that I fully grasped that art is a compulsion and not simply a career. At Art Center the desire to create art is formalized such that the compulsion to create is transformed into a process that produces thoughtful and aesthetic works. I have no doubt that my time at Art Center was invaluable and that I will eventually be able to put down the shovel and brush and spend all my time and energy completely enveloped in my work. Greg MacLaughlin
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Ambition was never punished but always encouraged...as long as the work backed up the talk. Matthew Sheridan
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3 STUDENT MATTHEW SHERIDAN TITLE DISINFORMATION BREAKDOWN VIEW INSTALLATION TINYURL.COM/2VYPZCH
4 STUDENT MATTHEW GROVER TITLE THESIS EXHIBITION 5 STUDENT JENNIFER WEST TITLE FILM STILL: NIRVANA ALCHEMY FILM (16MM BLACK & WHITE FILM SOAKED IN LITHIUM MINERAL HOT SPRINGS, PENNYROYAL TEA, DOUSED IN MUD, SOPPED IN BLEACH, CHERRY ANTACID AND LAXATIVESJUMPING BY FINN WEST & JWEST), 2007, 2 MIN 51 SEC. COURTESY MARC FOXX, LOS ANGELES VIEW FILM TINYURL.COM/355Z9YY
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6 STUDENT REBECCA NORTON TITLE TEMPLE LIGHTS, 2010 7 STUDENT LECIA DOLE-RECIO TITLE UNTITLED (GLD. CRVS.LNN.) 8 STUDENT CATHERINE SULLIVAN TITLE TRIANGLE OF NEED, 2007
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I used to think graduate school would serve as a guide for me to know, for certain, what my art is about. Now I know that I have only a slight clue, and that is the point. Rebecca Norton
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Course Requirements
6 0 3 6
GRADUATE ART
TERM 1 GSA-501 Masters Project 1 AGA-554 Graduate Seminar AGA-506 Theories Of Construction Electives TERM 2 GSA-502 Masters Project 2 AGA-554 Graduate Seminar AGA-506 Theories Of Construction Electives TERM 3 GSA-551 Masters Project 3 AGA-554 Graduate Seminar AGA-506 Theories Of Construction Electives
TERM 4 GSA-552 Masters Project 4 AGA-554 Graduate Seminar AGA-506 Theories Of Construction Electives TERM 5 GSA-601 Masters Thesis 5 AGA-554 Graduate Seminar AGA-506 Theories Of Construction Electives TERM 6 GSA-651 Masters Thesis 6 AGA-554 Graduate Seminar AGA-506 Theories Of Construction Electives AGA-700 Completed Thesis
Total Required Units
3 0 3 6
6 0 3 6
6 0 3 6
3 0 3 6
6 0 3 6 0 90
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Student Voices
ART CENTERS MFA PROGRAM OFFERS A THEORETICAL APPROACH TO CONTEMPORARY ART ITS NOT MERELY STUDIO-BASED. YOU LEARN TO INTERROGATE THE REASONS WHY YOU MAKE ART IN THE FIRST PLACE, AND WHAT IT MEANS TO BE AN ARTIST TODAY.
NORA SHIELDS TERM 6
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GRADUATE ART
BE PREPARED TO HAVE ALL OF YOUR ASSUMPTIONS CHALLENGED HERE. THE GRADUATE ART PROGRAM CAN BE VERY INTENSE, AND YOURE CONSTANTLY PROBED TO EXPLAIN WHAT YOUR ART MEANS. IVE SEEN SOME CLASSMATES BE A LITTLE RESISTANT TO THIS PROCESS. BUT IF YOU OPEN YOURSELF UP TO IT, EXPLORE WHO YOU ARE AND WHAT YOUR WORK MEANS, THEN YOULL LEAVE HERE A MUCH BETTER ARTIST. YOULL PROBABLY BE A BETTER PERSON, TOO. DIGGING DEEP INTO UNDERSTANDING YOURSELF, AND WHAT YOUR WORK IS ABOUT, IS CRUCIAL. ITS LIFE CHANGING. STEVEN GAVENAS TERM 6
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Graduate Broadcast Cinema
WHY LOS ANGELES? $34 BILLION: AMOUNT THE MOTION PICTURE INDUSTRY GENERATES IN CALIFORNIA. WHY LOS ANGELES? HOME TO BOTH TRADITIONAL MEDIA NBC UNIVERSAL, 20TH CENTURY FOX TELEVISION, MTV NETWORKS AND NEW Art Centers Graduate MEDIA YAHOO MEDIA, Broadcast Cinema curriculum JIBJAB, MYSPACE. encourages students to create beyond existing genres, designing new forms of storytelling and methods of production.
Robert Peterson
Department Chair
In the Graduate Broadcast Cinema Department, we believe the development of an individuals creative identity is the single most important part of a filmmaking education. A compelling story, delivered through a unique personal perspective and presented with universal clarity, can inspire audiences around the world. Our program attracts filmmakers with diverse storytelling skills as well as some who are new to the discipline. There are no boundaries among disciplines here. Collaborations between students and faculty from all of our majors allow ideas to flourish, providing an unparalleled creative environment for filmmakers. Creative freedom and experimentation are the hallmarks of our program, which is customized to the goals of each individual student. Broadcast Cinema students are given an opportunity to create, direct and own their work. They may focus on directing and screenwriting or a specialized creative role such as production designer, director of photography, editor or producer. Faculty mentorsexemplary artists and filmmakers from around the globeguide and assist students in the design, development and production of their projects. There are no barriers to impede a students right to author and direct their own works. Some students may elect to create public service announcements or promotional films for real clients, such as the United Nations, through the Colleges Designmatters initiative. Our proximity to Hollywood makes Art Center an ideal choice for aspiring and contemporary filmmakers to enhance their skills and develop their concepts. Our award-winning alumni are prominent in all aspects of the entertainment industrydirectors, writers, producers, directors of photography, production designers and editors.
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GRADUATE BROADCAST CINEMA GRADUATE ART FACULTY
Core Faculty Nir Bashan Marcie Begleiter Monte Bramer Jean-Pierre Geuens John Hartzog Howard Heard Victoria Hochberg Ron Osborn Stephanie Nash Robert Peterson, Chair Brad Saunders Eric Sherman Guest Lecturers and Mentors Michael Apted Roger Avary* Michael Bay* Tony Bill Josh Brolin Don Burgess* Doug Claybourne* Ericson Core* Sean S. Cunningham Joe Dante Allen Daviau Linda Day Robert Elswit Dennis Gassner* Samuel Goldwyn Jr. Paul Haggis Mark Isham Nina Jacobson Shelly Johnson* Janusz Kaminski Jeffrey Katzenberg Kathleen Kennedy Irvin Kershner* Marcel Langenegger* Dale Launer Kevin Mack* Farhad Mann* Frank Marshall Ron Osborn* Wally Pfister Steven Poster* Michael Sucsy* Zack Snyder* Tarsem* Greg Whiteley* Hughes Winborne * Art Center alumni
BE PREPARED TO HAVE ALL OF YOUR ASSUMPTIONS CHALLENGED HERE. THE GRADUATE ART PROGRAM CAN BE VERY INTENSE, AND YOURE CONSTANTLY PROBED TO EXPLAIN WHAT YOUR ART MEANS. IVE SEEN SOME CLASSMATES BE A LITTLE RESISTANT TO THIS PROCESS. BUT IF YOU OPEN YOURSELF UP TO IT, EXPLORE WHO YOU ARE AND WHAT YOUR WORK MEANS, THEN YOULL LEAVE HERE A MUCH BETTER ARTIST. YOULL PROBABLY BE A BETTER PERSON, TOO. DIGGING DEEP INTO UNDERSTANDING YOURSELF, AND WHAT YOUR WORK IS ABOUT, IS CRUCIAL. ITS LIFE CHANGING. STEVEN GAVENAS TERM 6
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Graduate Broadcast Cinema
Art Centers Graduate Broadcast Cinema curriculum encourages students to create beyond existing genres, designing new forms of storytelling and methods of production. Robert Peterson
Department Chair
In the Graduate Broadcast Cinema Department, we believe the development of an individuals creative identity is the single most important part of a filmmaking education. A compelling story, delivered through a unique personal perspective and presented with universal clarity, can inspire audiences around the world. Our program attracts filmmakers with diverse storytelling skills as well as some who are new to the discipline. There are no boundaries among disciplines here. Collaborations between students and faculty from all of our majors allow ideas to flourish, providing an unparalleled creative environment for filmmakers. Creative freedom and experimentation are the hallmarks of our program, which is customized to the goals of each individual student. Broadcast Cinema students are given an opportunity to create, direct and own their work. They may focus on directing and screenwriting or a specialized creative role such as production designer, director of photography, editor or producer. Faculty mentorsexemplary artists and filmmakers from around the globeguide and assist students in the design, development and production of their projects. There are no barriers to impede a students right to author and direct their own works. Some students may elect to create public service announcements or promotional films for real clients, such as the United Nations, through the Colleges Designmatters initiative. Our proximity to Hollywood makes Art Center an ideal choice for aspiring and contemporary filmmakers to enhance their skills and develop their concepts. Our award-winning alumni are prominent in all aspects of the entertainment industrydirectors, writers, producers, directors of photography, production designers and editors.
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GRADUATE BROADCAST CINEMA
1 STUDENTS: DIRECTOR CHRIS GEHL CINEMATOGRAPHER LIZ RUBIN PRODUCTION DESIGNER SONYA PALENCIA EDITOR CHRIS GEHL PRODUCERS IMELDA CARLOS & CHRIS GEHL TITLE EL ORTODONCISTA
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2 STUDENTS: DIRECTOR O NATHAPON CINEMATOGRAPHER DAVID ETHAN SANDERS PRODUCTION DESIGNER TOMOYA IMAI EDITOR O NATHAPON PRODUCERS O NATHAPON & SUKUNYA SIDEN TITLE BICYCLES AND RADIOS
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3 STUDENTS: DIRECTOR PUNTIP LIMRUNGROJ CINEMATOGRAPHER CEDRIC ANGELES PRODUCTION DESIGNER MANOCH THONGSUK EDITORS PASCUAL SISTO & BRETT EBERHARD PRODUCER PUNTIP LIMRUNGROJ TITLE BODY AND SOUL
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4 STUDENTS: DIRECTOR MARCEL LANGENEGGER CINEMATOGRAPHER AARON BARNES PRODUCTION DESIGNER MARCEL LANGENEGGER EDITOR MARCEL LANGENEGGER PRODUCER MARCEL LANGENEGGER TITLE THE CHAIR
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5 STUDENTS: DIRECTOR HOKU UCHIYAMA CINEMATOGRAPHER ADAM MELTZER PRODUCTION DESIGNERS ADAM BOLT & ALANA LAGERHAUSEN EDITORS HOVIG MENAKIAN & HOKU UCHIYAMA PRODUCER MICHAEL SILBERMAN TITLE ROSE
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6 STUDENTS: DIRECTOR JOHN ARLOTTO CINEMATOGRAPHER JAMES MANN PRODUCTION DESIGNER CHRISTIAN CHI LEE EDITOR JOHN ARLOTTO PRODUCER ROMAN WYDEN TITLE DEFACE
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Course Requirements
3
TERM 1 SBC-553 Masters Seminars The Director & The Writer SBC-554 Masters Seminars The Director of Photography & The Production Designer SBC-555 Masters Seminars The Supervising Editor & The Producer SBC-567 Designing Movement for The Visual Director SBC-525 Guest Speaker Series: Unintended Martyrs ABC-570 Masters Identity Seminar ABC-651 Masters Workshop ABC-639 Final Project Development TERM 2 SBC-611 Masters Directing Class SBC-595 Masters Screenwriting ABC-501 Masters Seminar (or equivalent) ABC-501 Masters Seminar ABC-639 Masters Final Project Development ABC-572 Masters Presentation
3 3 3 3 3 3
TERM 3 SBC-573 Masters Production Seminar OR SBC-552 Masters Production Workshop SBC-595 Masters Screenwriting (or equivalent) ABC-601 Thesis Research ABC-639 Masters Final Project Development TERM 4 SBC-573 Masters Production Seminar OR SBC-552 Masters Production Workshop SBC-651 Masters Thesis SBC-673 Masters Post Production Seminar ABC-570 Masters Identity
Studio Elective Units Total Required Units
3 3 3 3
3 3 3 3 27 69
6 3 3 3 3 3
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Student Voices
I SPENT YEARS LOOKING FOR MY PURPOSE. THEN I CAME HERE. I ALLOWED MYSELF TO DISCOVER WHAT IT WAS I REALLY WANTED TO DO MAKE FILMS. ART CENTER, SPECIFICALLY THE BROADCAST CINEMA PROGRAM, HAS ALLOWED ME TO WORK AND CREATE CONSTANTLY. I NEVER GET TIRED OF IT. IVE NEVER LOOKED BACK.
MARIA BIBER-FERRO TERM 4
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I WAS PRE-MED IN COLLEGE. I TOOK THE MCAT AND DID WELL, BUT REALIZED THAT I DIDNT WANT TO BE A DOCTOR. I FOUND THAT PUBLIC HEALTH WAS A REALLY GOOD FIT FOR ME, BECAUSE IT WORKS TO CREATE BEHAVIOR CHANGE IN THE PUBLIC IN ORDER TO PREVENT ILLNESS AND INJURY. SO I WENT TO YALE FOR A MASTERS OF PUBLIC HEALTH. AS I TOOK BIOSTATISTICS AND EPIDEMIOLOGY CLASSES AND LEARNED ABOUT ALL THESE DIFFERENT ISSUES, I DISCOVERED THAT MANY PEOPLE ARE UNAWARE OF THEM. NOT MANY PEOPLE READ SCIENCE JOURNALS, LET ALONE THE SCIENCE SECTION OF THE NEWSPAPER. SO I ASKED MYSELF, WHATS THE BEST WAY TO COMMUNICATE THESE ISSUES TO PEOPLE? PEOPLE WATCH MOVIES AND TELEVISION. I FOUND THAT FILM WAS AN EFFECTIVE WAY TO GO BEYOND STATISTICS TO THE STORIES THAT MAKE PEOPLE CARE. SO HERE I AM AT ART CENTER. MY GOAL IS TO MAKE HEALTH AND SOCIAL ISSUES RELEVANT TO PEOPLE, AND I BELIEVE THAT THROUGH FILM, I CAN. ELIZABETH BAYNE TERM 3
ARTCENTER.EDU
GREATER L.A.
Graduate Industrial Design
WHY LOS ANGELES? LOS ANGELES IS REGARDED AS THE ENTREPRENEURIAL CAPITAL OF THE WORLD. WHY LOS ANGELES? PASADENA HAS LONG BEEN A CENTER FOR SCIENTIFIC AND AEROSPACE INNOVATION AND IS HOME TO Industrial design is more than BOTH THE CALIFORNIA INSTITUTE OF the creation of desirable TECHNOLOGY (CALTECH) products and user experiences. AND NASAS JET PROSuccessful innovation requires PULSION LABORATORY. resilient business model-based designs driven by unique insights about human needs, and the thoughtful study and design of our future.
Andy Ogden
Department Chair
Art Centers Graduate Industrial Design program, Grad ID, offers a two-year, six-term Master of Science curriculum focusing on theory and practice for the production of insightful research, the development of human-centric designs and the creation of new business opportunities. We combine Art Centers renowned excellence in visual design and making skills with the knowledge, theories and methods essential for making design solutions for complex and unstructured problems. In doing so, we prepare students to assume leadership roles throughout creative organizations. Our faculty of internationally renowned educatorsaccomplished professionals across a range of design, technology and business fieldshelp our students develop their abilities through projects and critical dialogue in a design studio environment. We design with a consciousness that our products and innovations exist in a larger social and ecological context. Our programs methodology, which takes a systems-level view and strives to balance the business, technological and human aspects of any challenge, is called Strategic Innovation. This creative process produces empathetic solutions to essential human needs. This broadly applicable approach allows designersand enterpriseto be resilient, and to grow.
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GRADUATE INDUSTRIAL DESIGN FACULTY GRADUATE BROADCAST CINEMA
I WAS PRE-MED IN COLLEGE. I TOOK THE MCAT AND DID WELL, BUT REALIZED THAT I DIDNT WANT TO BE A DOCTOR. I FOUND THAT PUBLIC HEALTH WAS A REALLY GOOD FIT FOR ME, BECAUSE IT WORKS TO CREATE BEHAVIOR CHANGE IN THE PUBLIC IN ORDER TO PREVENT ILLNESS AND INJURY. SO I WENT TO YALE FOR A MASTERS OF PUBLIC HEALTH. AS I TOOK BIOSTATISTICS AND EPIDEMIOLOGY CLASSES AND LEARNED ABOUT ALL THESE DIFFERENT ISSUES, I DISCOVERED THAT MANY PEOPLE ARE UNAWARE OF THEM. NOT MANY PEOPLE READ SCIENCE JOURNALS, LET ALONE THE SCIENCE SECTION OF THE NEWSPAPER. SO I ASKED MYSELF, WHATS THE BEST WAY TO COMMUNICATE THESE ISSUES TO PEOPLE? PEOPLE WATCH MOVIES AND TELEVISION. I FOUND THAT FILM WAS AN EFFECTIVE WAY TO GO BEYOND STATISTICS TO THE STORIES THAT MAKE PEOPLE CARE. SO HERE I AM AT ART CENTER. MY GOAL IS TO MAKE HEALTH AND SOCIAL ISSUES RELEVANT TO PEOPLE, AND I BELIEVE THAT THROUGH FILM, I CAN. ELIZABETH BAYNE TERM 3
Core Faculty and Staff Mark Andersen Katherine Bennett Krystina Castella Maritza Herrera, Department Coordinator Richard Keyes Steve Montgomery Story Musgrave Andy Ogden, Chair Valerie Poliakoff Christopher Rusay Lloyd Walker Geoff Wardle
LEARN MORE WWW.GRADID.NET
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Graduate Industrial Design
Industrial design is more than the creation of desirable products and user experiences. Successful innovation requires resilient business model-based designs driven by unique insights about human needs, and the thoughtful study and design of our future. Andy Ogden
Department Chair
Art Centers Graduate Industrial Design program, Grad ID, offers a two-year, six-term Master of Science curriculum focusing on theory and practice for the production of insightful research, the development of human-centric designs and the creation of new business opportunities. We combine Art Centers renowned excellence in visual design and making skills with the knowledge, theories and methods essential for making design solutions for complex and unstructured problems. In doing so, we prepare students to assume leadership roles throughout creative organizations. Our faculty of internationally renowned educatorsaccomplished professionals across a range of design, technology and business fieldshelp our students develop their abilities through projects and critical dialogue in a design studio environment. We design with a consciousness that our products and innovations exist in a larger social and ecological context. Our programs methodology, which takes a systems-level view and strives to balance the business, technological and human aspects of any challenge, is called Strategic Innovation. This creative process produces empathetic solutions to essential human needs. This broadly applicable approach allows designersand enterpriseto be resilient, and to grow.
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GRADUATE INDUSTRIAL DESIGM
1 STUDENT MAGDALENA PALUCH TITLE SPIRIT SEATING SYSTEM AWARD IDEA AWARD 2010: BRONZE
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Magdalena Paluch worked with ID faculty members Heidren Mumper-Drumm, Frido Beisert and Tisha Johnson to develop the Spirit Seating System. After extensive research and analysis of the life cycle of current automotive seating, Paluch investigated new materials and manufacturing methods to create a design that was lighter in weight, optimized material usage, reduced toxins and allowed for easier disassembly at the end of the product life cycle. The final design provides support and comfort for the human form with structures and materials inspired by racing seats and bone and muscle anatomy.
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2 TITLE THE AMERICAN RED CROSS PARTNERSHIP CLASS DESIGN INVESTIGATIONS
Grad ID students worked closely with the Greater New York and Los Angeles Chapters of the American Red Cross in ID faculty member Katherine Bennetts Design Investigations class. Students were immersed in the experience of clients, staff and volunteers in disaster response, including a week of conducting observational research and interviews at the Red Cross headquarters in Manhattan. The team identified key insights and opportunities from the research and then created design proposals in the following term with faculty members Andy Ogden, Steve Montgomery and Geoff Wardle to address five key areas: branding and messaging; organization; volunteers; disaster response; and new sources of revenue.
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3 STUDENT JAMES CHIANG TITLE VIRTUACROSS 4 STUDENTS REFIK ATATUR & URI TSARSNOSKY TITLE RED PILLARS 5 STUDENT KOO HO SHIN TITLE 1881 AWARD IDEA AWARD 2010: SILVER
James Chiangs research led him to propose Virtuacross as a social network and virtual training environment. New volunteer training can be improved through remote instruction delivered by simulations of disasters in accurate environments with avatars.
Refik Atatur and Uri Tsarsnosky created Red Pillars to be an icon of the red cross embedded in daily life. The portable automated kiosk system with its own back-up power and mesh network capabilities to help speed response and promote collection of donations in the event of large scale disasters.
Koo Ho Shin developed the brand 1881 to connect with new generations of Americans through a message of Active Caring. The proposed line of apparel and lifestyle consumer goods have functional features focused on daily safety and emergency readiness so that consumers can be in control when unexpected events happen.
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6 STUDENT CHRISTINE PURCELL TITLE PROSTIX
Christine Purcells Prostix is designed to help individuals who have lost lower limbs. She aimed to create a better crutch experience for long-term users by more comfortably supporting the users body weight as well as his/her lifestyle. The stylish, rigid and lightweight carbon fiber design was developed through human factors studies and a process that included working closely with three individual crutch users. It employs an arm brace design that enables better arm motion and provides ideal support, as well as a handgrip design that distributes the users body weight to prevent common injuries to hands, wrists, arms and shoulders. Purcell also developed a business plan based on extensive market research and an online store design.
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7 PROJECT FACULTY RESEARCH TITLE MVIP (MOBILITY VISION INTEGRATION PROCESS) SYSTEM DESIGN CARDS AWARD IDEA AWARD 2008: SILVER & BRONZE LEARN MORE WWW.MOBILITYVIP.COM
Research by faculty members Lloyd Walker, Andy Ogden, Geoff Wardle and Heidren MumperDrumm led to the development of the MVIP System Design Cards as a tool to help people develop their skills in thinking about the future in terms of systems.
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Course Requirements
3 3 3 3 3 3 3
TERM 1 IND-502 Visualization 1 IND-652 Visualization Cg Lab IND-505 Materials & Methods 1 IND-551 3D Development 1 IND-503 Visual Form 1 IND-501 M1 Studio IND-507 Sparks & Connections TERM 2 IND-552 Visualization 2 IND-530 Materials & Methods 2A IND-531 Materials & Methods 2B IND-571 3D Development 2 IND-533 Visual Form 2 IND-521 M2 Studio IND-608 Design Investigations TERM 3 IND-610 Visualization 3 IND-540 Materials & Methods 3A IND-541 Materials & Methods 3B IND-601 3D Development 3 IND-602 Visual Form 3 IND-557 M3 Studio IND-555 System Design Research
TERM 4 IND-671 Visualization 4 IND-605 Entrepreneur Methodology IND-651 M4 Studio Electives TERM 5 IND-681 M5 Studio IND-653 System Design Studio 5 IND-670 Worskhop 5 Electives TERM 6 IND-606 Entrepreneur Studio IND-682 M6 Studio Thesis IND-672 Workshop 6 Electives
3 3 3 3
3 3 3 3 3 3 3
3 3 3 6
3 3 3 3 102
3 3 3 3 3 3 3
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Student Voices
WERE NOT JUST MAKING PRODUCTS. WERE DESIGNING SYSTEMS THAT CREATE AND EXTEND VALUE.THOSE ARE THINGS YOU CANT JUST CHEW UP AND SPIT OUT.
KOO HO SHIN TERM 5
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GRADUATE INDUSTRIAL DESIGN
FOR ONE OF MY CLASSES, I DEVELOPED AN ENVIRONMENTALLY SUSTAINABLE AUTOMOTIVE SEAT. THE ASSIGNMENT WASNT TO INVENT SOMETHING COMPLETELY NEW. IT WAS TO TAKE AN EXISTING PRODUCT AND UNDERSTAND IT FULLY. SO FROM THE VERY BEGINNING, THE PROJECT PRESENTED LIMITATIONS, WHICH I ACTUALLY FOUND INSPIRING. THOSE LIMITATIONS TURNED THE ASSIGNMENT INTO A PUZZLE TO SOLVE. A SUSTAINABLE CAR SEAT. HOW DO YOU ACHIEVE THAT? HOW DO YOU BEGIN TO UNDERSTAND ALL THE LAYERS OF COMPLEXITY? YOU NEED TO START BY SEEING WHATS INSIDE. SO I TOOK THE SEAT COMPLETELY APART TO SEE ALL ITS COMPONENTS AND MATERIALS. I THEN DID IN-DEPTH RESEARCH ON ALL THE MATERIALS I FOUND AND EXPLORED ALTERNATIVES THE INDUSTRY COULD USE. THAT ASSIGNMENT TAUGHT ME THAT BEFORE DESIGNING, YOU HAVE TO FULLY UNDERSTAND THE PROBLEM. I ENJOYED GOING THROUGH THAT PROCESS SO MUCH THAT I NOW FOLLOW THOSE STEPS WITH EVERY PROJECT. MAGDALENA PALUCH TERM 5
ARTCENTER.EDU
GREATER L.A.
Graduate Media Design
WHY LOS ANGELES? 91 LANGUAGES SPOKEN, INCLUDING ENGLISH, SPANISH, KOREAN, FILIPINO, ARMENIAN AND CHINESE. WHY LOS ANGELES? THE PORT OF LOS ANGELES IS THE NATIONS LARGEST IMPORT/EXPORT PORT. We prepare designers for a world in which virtually anythingfrom sensor networks to interactive surfaces to entire citiesmay be the next medium or platform of communication.
Anne Burdick
Department Chair
Art Centers graduate program in Media Design offers a two- or threeyear Master of Fine Arts curriculum that helps ambitious designers from a variety of backgrounds become design leaders and researchers in emerging fields. We are looking for risk-takers with hybrid interests who can integrate innovative design with intellectual investigation, who can synthesize theory and practice, and who can pursue their research and making with depth, intelligence and passion. At the start of the 21st century, we named the program Media Design, because our students projects no longer conformed to the disciplines of the time. Some projects were graphics-based, others were objects; some engaged, others performed; some stayed still, others movedand some you moved through. We invented the program name because the old ones no longer fit. In the process, we created an entirely new discipline. Media Design is now a recognized field, but still young enough that our graduates can define it on their own terms. Our students are guided by a faculty of design visionaries and thought leaders who bring knowledge, experience and rigor to their critiques. We challenge our students to push design in new directions by following their curiosity, refining their expertise and inventing new practices within a context of cultural and technological change. This adaptability is essential as we prepare designers to lead in amazingly diverse contexts, from scientific research labs to futurist think tanks, from leading corporations to nonprofits to design studios. In 2009, our department moved into a 14,000-square-foot former supersonic wind tunnel at Art Centers South Campus. A dramatic setting conducive to inspiration and experimentation, this dedicated space houses our students workstations, a digital lab, the New Ecology of Things research laboratory and the Wind Tunnel gallery.
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GRADUATE MEDIA DESIGN FACULTY DESIGN GRADUATE INDUSTRIAL
Full-Time Faculty and Staff Anne Burdick, Chair Sean Donahue Tim Durfee Ben Hooker Phil van Allen Kevin Wingate Adjunct Faculty and Thesis Advisors Rob Ball Brad Bartlett John Brumfield Elise Co Shannon Herbert Garnet Hertz Shona Kitchen Norman M. Klein Lisa Krohn Thea Petchler Holly Willis
FOR ONE OF MY CLASSES, I DEVELOPED AN ENVIRONMENTALLY SUSTAINABLE AUTOAUTO MOTIVE SEAT. THE ASSIGNMENT WASNT TO INVENT SOMETHING COMPLETELY NEW. IT WAS TO TAKE AN EXISTING PRODUCT AND UNDERSTAND IT FULLY. SO FROM THE VERY BEGINNING, THE PROJECT PREPRE ACTU SENTED LIMITATIONS, WHICH I ACTULIMITA ALLY FOUND INSPIRING. THOSE LIMITATIONS TURNED THE ASSIGNMENT INTO A PUZZLE TO SOLVE. A SUSTAINABLE CAR SEAT. HOW DO YOU ACHIEVE THAT? HOW DO YOU BEGIN TO UNDERSTAND ALL THE LAYERS OF COMPLEXITY? YOU NEED TO START BY SEEING WHATS INSIDE. SO I TOOK THE SEAT COMPLETELY APART TO SEE ALL ITS COMPONENTS AND MATERIALS. I THEN DID IN-DEPTH RESEARCH ON ALL THE MATERIALS I FOUND AND EXPLORED ALTERNATIVES THE INDUSTRY COULD USE. THAT ASSIGNMENT TAUGHT ME THAT BEFORE DESIGNING, YOU HAVE TO FULLY UNDERSTAND THE PROBLEM. I ENJOYED GOING THROUGH THAT PROCESS SO MUCH THAT I NOW FOLLOW THOSE STEPS WITH EVERY PROJECT. MAGDALENA PALUCH TERM 5
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Graduate Media Design
We prepare designers for a world in which virtually anythingfrom sensor networks to interactive surfaces to entire citiesmay be the next medium or platform of communication. Anne Burdick
Department Chair
Art Centers graduate program in Media Design offers a two- or threeyear Master of Fine Arts curriculum that helps ambitious designers from a variety of backgrounds become design leaders and researchers in emerging fields. We are looking for risk-takers with hybrid interests who can integrate innovative design with intellectual investigation, who can synthesize theory and practice, and who can pursue their research and making with depth, intelligence and passion. At the start of the 21st century, we named the program Media Design, because our students projects no longer conformed to the disciplines of the time. Some projects were graphics-based, others were objects; some engaged, others performed; some stayed still, others movedand some you moved through. We invented the program name because the old ones no longer fit. In the process, we created an entirely new discipline. Media Design is now a recognized field, but still young enough that our graduates can define it on their own terms. Our students are guided by a faculty of design visionaries and thought leaders who bring knowledge, experience and rigor to their critiques. We challenge our students to push design in new directions by following their curiosity, refining their expertise and inventing new practices within a context of cultural and technological change. This adaptability is essential as we prepare designers to lead in amazingly diverse contexts, from scientific research labs to futurist think tanks, from leading corporations to nonprofits to design studios. In 2009, our department moved into a 14,000-square-foot former supersonic wind tunnel at Art Centers South Campus. A dramatic setting conducive to inspiration and experimentation, this dedicated space houses our students workstations, a digital lab, the New Ecology of Things research laboratory and the Wind Tunnel gallery.
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GRADUATE MEDIA DESIGN
1 STUDENT HYUN JU YANG TITLE PARTICIPATORY UNIVERSE
Working with scientists from Seoul National University and California Institute of Technology (Caltech), Yang developed a visual language to translate the complex and sometimes counterintuitive theories of particle physics, quantum mechanics and cosmology. Yang designed diagrams, animations, display panels and an interactive kiosk. Yang is currently the Media Design Program Post-Graduate Fellow.
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2 STUDENT YU-SEUNG KIM TITLE DISCOVERIES IN DISPLACEMENT
Discoveries in Displacement uses interface design to restructure the world we know into worlds we want to know more about. Kims work turns informationfrom the content of dreams to flight schedulesinto textual and visual narratives whose poetics stand in contrast to the neutral tone of many data visualizations. Kim is currently a User Experience Designer at Yahoo!
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3 STUDENT HANNAH REGIER TITLE SWITCH CRITTERS WATCH VIDEO TINYURL.COM/3YECRTK
With behaviors influenced by data flows, Switch Critters can be persuaded to perform everyday tasks such as turning on lights or starting a car. Regier invited writers to create short stories after living with the working prototypes for a week. She then made animated shorts as a way to design interactions defined by imagination, behavior and personality. Regier is currently a Design Analyst at Frog Design, San Francisco.
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4 STUDENT JULIA TSAO TITLE CURIOUS DISPLAYS WATCH VIDEO TINYURL.COM/2WHTPCL
At first glance, Curious Displays is a proposal for a new product a future display technology whose robotic pixels move about the house autonomously. But Tsao has created a powerful piece of design fiction, a three-dimensional experiential prototype that allowed her to explore how the physical and the virtual may interact in the future for better or worse. Tsao is currently the Creative Executive at yU+co, Hollywood, and is Co-Founder of Fair Enough, Los Angeles.
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5 STUDENT YU-MING CHO TITLE TRANSBEHAVIOR WATCH VIDEO TINYURL.COM/2WZ92JO
In a world of ubiquitous computing, Chos thesis explored the role of biology and culture in our understanding of the things that surround us. Cho designed a set of interactive objects that adopted the behaviors of pets, embodied cultural rituals and extended the users senses in unexpected ways. Cho is currently a Creative Director at McCann Worldgroup, Shanghai, China.
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6 STUDENT JONATHAN JARVIS TITLE CRISIS OF CREDIT VISUALIZED WATCH VIDEO TINYURL.COM/3A2GEFE
An 11-minute visual story that uses graphic symbols and diagrams to clearly communicate the origins of the recent economic crisis, Jarvis Crisis of Credit Visualized went viral, appearing on a variety of sites from Motionographer to Forbes.com. The spread of the video supported Jarvis argument that designers are needed to communicate the complexity of todays world. Jarvis is currently a Designer at Google Creative Labs, New York.
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Course Requirements
MEDIA DESIGN2 YEAR PATH
CONCEPT YEAR MDP-502 Media History & Theory MDP-534 Design Research Practices 1 MDP-553 Productive Interaction MDP-543 People-Knowing MDP-577 Objects, Spaces, & Media MDP-529 Authoring Critical Media MDP-558 Colloquium 2A MDP-559 Colloquium 2B MDP-610 Thesis Gateway
3 1 3 3 3 3 3 3 0
MEDIA DESIGN3 YEAR PATH

DEVELOPMENT YEAR FND-159 Comunication Design 2 OR GPK-201 Type 3 3 CGR-251 Interactive Design 1 OR CGR-301 Interactive Design 2 3 CGR-211 Motion Design 1 OR CGR-261 Motion Design 2 3 GPK-151 Type 2 3 GPK-301 Information Design 3 MDP-510 Dev Core 3 MDP-517 Transmedia Design 3 MDP-522 Visual Narrative 3 MDP-508 Colloquium 1A 1 MDP-509 Colloquium 1B 1 MDP-502 Media History & Theory 3 Academic Elective 3 CONCEPT YEAR MDP-534 Design Research Practices 1 MDP-553 Productive Interaction MDP-543 People-Knowing MDP-577 Objects, Spaces, & Media MDP-529 Authoring Critical Media MDP-558 Colloquium 2A MDP-559 Colloquium 2B MDP-610 Thesis Gateway
1 3 3 3 3 3 3 0
Elective Credits MDP Topic Studios 9 units minimum, topics may change: MDP-575 Material Worlds 3 MDP-578 Data Stories 3 MDP-579 Good Living in Mixed Reality 3 MDP-537 New Ecology of Things 3 MDP-574 New Modes of Reading & Writing 3 MDP-591 Ubiquitous Moving Image 3 MDP-589 Visualizing Dynamic Systems 3 Summer X Term (choose one) MDP-975 Research Internship MDP-975 Studio Internship Art Center Lite Term
Elective Credits MDP Topic Studios 9 units minimum, topics may change: MDP-575 Material Worlds 3 MDP-578 Data Stories 3 MDP-579 Good Living in Mixed Reality 3 MDP-537 New Ecology of Things 3 MDP-574 New Modes of Reading & Writing 3 MDP-591 Ubiquitous Moving Image 3 MDP-589 Visualizing Dynamic Systems 3 Summer X Term (choose one) MDP-975 Research Internship MDP-975 Studio Internship Art Center Lite Term
6 6 6
THESIS YEAR MDP-584 Design Research Practices 2 MDP-611 Thesis Workshop 1 MDP-612 Thesis Workshop 2 MDP-581 Histories Of The Future MDP-618 Knowledge-Sharing Workshop MDP-608 Colloquium 3A MDP-609 Colloquium 3B
2 6 9 3 3 3 3 66
6 6 6
THESIS YEAR MDP-584 Design Research Practices 2 MDP-611 Thesis Workshop 1 MDP-612 Thesis Workshop 2 MDP-581 Histories Of The Future MDP-618 Knowledge-Sharing Workshop MDP-608 Colloquium 3A MDP-609 Colloquium 3B
2 6 9 3 3 3 3 95
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Student Voices
MY WORK USES VERY SIMPLE TECHNOLOGY AND IS MORE A REACTION TO THE MEDIA AROUND US. BUT THE GREAT THING ABOUT MDP? IT SUPPORTS YOUR CHOICES.
HAELIM PAEK THESIS YEAR
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AS A CHILD GROWING UP IN MEXICO, ONE OF THE BEST PRESENTS MY DAD EVER GAVE MY BROTHER AND I WAS A TEXAS INSTRUMENTS TI-994A PERSONAL COMPUTER. BUT HE WOULDNT BUY US ANY GAMES. MAKE YOUR OWN GAMES, HE SAID AND GAVE US A BOOK ON BASIC PROGRAMMING. I WAS INTRIGUED. I THOUGHT, HOW DOES THE COMPUTER WORK? HOW DO I MAKE IT DO SOMETHING? LEARNING HOW TO MOVE THE CURSOR WAS EXCITING. HOW DO I DESCRIBE MEDIA DESIGN? THE ELEMENTS OF SPACE, SOUND, SOFTWARE AND OBJECTS ALL PLAYING TOGETHER TO CREATE SOMETHING MEANINGFUL. IN MY WORK, IM EXPLORING THE DISJUNCTION BETWEEN INDIVIDUALS AND SOCIETY, AND HOW WE FILL THAT VOID WITH DISTRACTIONS. IM ALSO ASKING MYSELF, HOW IS MY WORK GOING TO FIT INTO THE WORLD? ARE MY DESIGNS JUST GOING TO FEED INTO SOCIETY OR A MARKET? IVE LEARNED TO EMBRACE THAT TYPE OF QUESTIONING. DANIEL LARA CONCEPT YEAR
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Graduate Alumni
GRADUATE ART PAE WHITE MFA 1991 TITLE UNTITLED, STILL, 2010 COTTON TAPESTRY
Art Center changed the way I thought about art making in terms of being a professional. It isnt necessarily about tossing around art materials and having fun in the studio. It is about thought and form and responsibility. Responsibility to the viewer, and everything that implies, but alsoand sometimes more importantresponsibility as a viewer, especially in terms of agility. Pae White
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GRADUATE ALUMNI WORK
GRADUATE BROADCAST CINEMA ZACK SNYDER BFA 1989 & MFA 1992 TITLE 1 LEGEND OF THE GUARDIANS 2010, WARNER BROS. ENTERTAINMENT INC. ALL RIGHTS RESERVED 2 SUCKER PUNCH 2011, WARNER BROS. ENTERTAINMENT INC. ALL RIGHTS RESERVED 3 WATCHMEN 2009, WARNER BROS. ENTERTAINMENT INC. ALL RIGHTS RESERVED 1
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GRADUATE INDUSTRIAL DESIGN DAN WINGER MS 2007 TITLE SKILLERS
Employing CAD, rapid prototyping and classic sculpting techniques from the auto industry, Winger developed Skillers, an integrated ski goggle and audio/communications system. The system features hidden noise-cancelling speakers, an MP3 player, a two-way radio and Bluetooth technology that allows users to listen to music, make phone calls and connect to an online music service. Skillers are inspired by rock culture, says Winger. Theyre bold, aggressive and not afraid to offend the timid.
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GRADUATE ALUMNI WORK
GRADUATE MEDIA DESIGN 1 NIKOLAI CORNELL MFA 2004 TITLE THE CUELIGHT POOL TABLE, OBSCURA STUDIO 2 DAVID SCHWARZ MFA 2004 TITLE SONY ERICSSONS BIG SCREEN PHONE, HUSH STUDIO
The CueLight Pool Table, featured at the Paradise Tower Penthouse, Hard Rock Hotel & Casino, Las Vegas, uses Obscura Digitals projection, sensor and tracking system to reveal images and animations that follow the movements of pool balls as they are hit around the table.
Still from a promotional video for Sony Ericssons new Big Screen phone shows one piece of a campaign that included video ring tones, demo movies, wallpapers and more.
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Humanities and Design Sciences
Everything is interconnected, yet specialist knowledge is ever more vital. Through Humanities and Design Sciences you will enter the world with the broader understanding that shows, if not quite how to square the circle, how to approach the task. Dr. Penny Florence
Department Chair
chiasmus (Pronunciation: ): a crossing; x formation; a reflected syntactic structure between parallel phrases Humanities and Design Sciences* are of concern to you. All students take HDS classes since they aim to equip you not only with specific knowledges, but also with broader ways of understanding that are relevant across all disciplines. How does this title HDS unpack? If you thought of hybrid you were on the right track. HDS brings together elements that may not be obviously related. It is a mobile space where people and disciplines connect, intersect and grow differentially. That is, while each may have their own pathway, there are elements in common. HDS is chiasmatic in structure. It is where aspects of the disciplines cross, but, like the chiasmus, it is also a syntactic structure or system of connections. It is where you think outside your discipline or your project, while considering exactly how the inside links to the outside. So in precise but multiple ways, HDS classes work in conjunction with the studio programs to foster thoughtful and rigorous inquiry across the College, traversing historical, literary, artistic, cultural and scientific perspectives. In this way, they contribute to ensuring you have the knowledge to be able to map your very own pathway. Like Designmatters and Transdisciplinary Studios, they provide you with ways of seeing how your majors interrelate in the present and to the past. They therefore contribute to well-founded ways of envisioning futures.
*
known as liberal arts and sciences at most other schools
EIJA-LIISA AHTILA THE HOUSE, 2002 FILM STILL 14 MIN
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Integrated Studies
INTEGRATED STUDIES
Integrated Studies classes will teach you how to see with your mind, draw with your eyes and think with your hands. Wendy Adest
Department Chair
Integrated Studies is not a major. Rather, it is a horizontal department where students from multiple majors study together learning material common to all disciplinesbasic visual vocabulary, craftsmanship and technical skills. These classes are automatically included in your major departments course of study based on their respective curricula. This creates an interdisciplinary atmosphere, allowing students to learn from one another and forge important relationships with their peers. Art Centers long-standing distinction forand commitment tocraft begins with these classes. Integrated Studies promotes critical awareness teaching how images make meaning while students develop a self-awareness of their own design and problem solving processes. Our classes help students discover their own personal voice while encouraging collaboration and team-building skills across disciplines. Finally, students will learn that there are ethical components to their practice and cultural production, and that their actions have an impact on other communities (citizenship) and the environment (sustainability) which, when followed, result in art and design leadership. The Integrated Studies Department is nimble, with the flexibility to respond to student needs. It can create a class based on student requests as long as the class appeals to more than one major. All undergraduate students from every department take Integrated Studies classes. The department is designed to facilitate and support each major by creating an intersection allowing for communication, cross-pollination and enhanced creativity for everyone.
VIEW VIDEOS tinyurl.com/34ub75u
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1 STUDENT YOON LEE TERM SECOND TITLE FINAL PROJECT CLASS DESIGN 2 INSTRUCTOR JON NGUYEN 2 STUDENT CONNIE CHANG TERM FIRST TITLE 2-D COMPOSITION ASSIGNMENT CLASS DESIGN 1 INSTRUCTOR BRUCE CLAYPOOL 3 STUDENT JUNG LIM PARK TERM THIRD TITLE POP WALL CLOCK CLASS RAPID PROTOTYPING INSTRUCTOR JAVIER PALOMARES 1
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Designmatters
DESIGNMATTERS
With Designmatters, students have a platform to engage with a broad range of issues and work with a wide diversity of communities, transforming their ideas into deeply consequential actions. Mariana Amatullo
Vice President Designmatters
VIEW VIDEOS vimeo.com/designmatters
At Art Center, we believe that art and design education should exist within a larger field of social, humanitarian and responsible business practices. Our College-wide social impact initiative, Designmatters, infuses the College curricula with content and expertise relevant to contemporary issues through strategic partnerships with leading nonprofits and industry. These collaborations focus on four pillars of investigation as they intersect with art and design: sustainable development, global healthcare, public policy, and social entrepreneurship. In recognition of Designmatters service to society, in 2003 Art Center became the first design school to receive Non-Governmental Organization (NGO) status by the United Nations; Designmatters has also fostered a series of prestigious and unique global affiliations that provide students and alumni access to a prominent stage in which to offer innovative solutions to critical issues of our time with the results widely disseminated beyond the studios walls. Students from all disciplines are eligible to participate in an evolving set of Designmatters Transdisciplinary courses offered each term and collaborate on projects with real-world, actionable outcomes. To date, participating students have created a highly diverse body of work including public service announcements, documentary films, branding identity systems, integrated multi-media campaigns, product prototypes, mobility concepts, multi-platform communication portals, environmental solutions for communities with specific needs, and more. The Designmatters Concentration is offered to students who wish to explore more fully art and design for social impact. Interested students declare the concentration during the third term and must fulfill a series of seven required courses, which vary depending on the students discipline, and include academic, discipline-specific and studio-based offerings. The sequence of requirements gives students flexibility during their studies, while also preparing them to deploy a toolbox of important skills and a set of values including empathy,
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1 TITLE SAFE AGUA CHILE RESEARCH METHODOLOGY CARDS CLASS TDS ENVIRONMENTAL DESIGN DEPARTMENT INSTRUCTORS LILIANA BECERRA, PRODUCT DESIGN / DAN GOTTLIEB & PENNY HERSCOVITCH, ENVIRONMENTAL DESIGN 2 STUDENT CINDY CHEN TITLE THIS IS MY HOME CLASS HUMAN RIGHTS PUBLIC EDUCATION EXHIBITION / TDS ILLUSTRATION 2 DEPARTMENT INSTRUCTORS MARTHA RICH & ESTHER PEARL WATSON, ILLUSTRATION DEPARTMENT 3 STUDENT JANA FRIELING TITLE FACES, VOICES AND PLACES CLASS INDEPENDENT STUDY, GRAPHIC DESIGN DEPARTMENT INSTRUCTOR KEITH KNUEVEN, GRAPHIC DESIGN DEPARTMENT
global citizenship, user-led innovation and cultural diversity. By participating in Designmatters courses as well as engaging in internships, students in the Designmatters Concentration partake in a unique track of experiential learning. Recent Partners American Cancer Society Droga5 GE Healthcare Organization of American States Pan American Health Organization Princeton University Mechanical Engineering Department Project H Un Techo Para mi Pas United Nations Childrens Fund (UNICEF) United Nations Population Fund (UNFPA) United States Geological Survey University of Southern California Keck School of Medicine and Annenberg School for Communication and Journalism We all spend a lot of time discussing and debating what the world should be like, but rarely do we ever take action. Our class had the chance to conduct field research in Guatemala. Instead of spending three months working on a hypothetical problem, we spent that time exploring solutions that would hopefully bring a positive change to real people. All of a sudden, I wasnt a student working in a classroom in Pasadena, but a person with responsibility and potential. Jonathan Goldman, Advertising Student
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Student Affairs
STUDENT AFFAIRS
Life at Art Center is active and engaging both within and beyond the classroom. Even before you arrive on campus, programs and services are available to help you get the most out of your time here. As a student, youll discover numerous ways to get involved with the College community, whether its by developing your leadership skills, participating in student clubs and organizations or volunteering with local groups. After you graduate, youll continue to receive assistance as you put your talents to work and build a career. The Department of Student Affairs which includes our Center for the Student Experience (CSE), Office of Enrollment Services and Office of Career Development oversees the essentials and the other complementary opportunities outside of the classroom. We make sure your academic records are accurate and help you determine that youre where you should be on your path to graduation. Special services, including health insurance, personal counseling, housing information, international student advisement and disability support and accommodations, are coordinated through our department. When you first arrive on campus, youll meet our staff as we coordinate new student orientation. We host social events throughout the year and even cook for you when youre cramming for finals at our Late Night Breakfast. We support your elected student government representatives as they work to improve the student experience, we bring speakers and other co-curricular educational programs to campus, and we celebrate our intercultural diversity. Each person arrives on campus at a different stage in their life some have already earned a college degree; others will be completing their first. We tailor our services and programs to your needs, whether youre an international student or a Southern California native. Whether you are looking to join a student organization, start a new one, develop your leadership skillsor simply enjoy the parade and a plate of eggsour staff is here to support you, assist in your personal development and help you attain a well-rounded education.
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Career Development
view recent internships artcenter.edu/internships
At Art Center, we are committed to helping our students launch their careers as artists and designers as well as aiding in the advancement of our alumni. The Office of Career Development provides students and alumni with resources and services, working one-on-one to help facilitate meaningful connections with the professional environment. In a highly competitive job market, plotting a career path and sharpening personal skills are more critical than ever. Our Career Strategies Workshops provide students and alumni with advice on rsum and cover letter preparation, interviewing techniques, networking skills and uncovering the hidden job market. We also identify and develop paid internships that provide students with practical, hands-on work experience under the direction of practicing artists and designers. Students have recently interned at Acura, Good magazine, Insomniac Games, Nestl, New Line Cinema / Warner Bros. and TOMS Shoes. Scan the QR code or visit our website for a full list of recent internships. Through our Business Dialogue Series, leaders of design firms and studios come to campus to create awareness of their business, showcase their work and engage in conversation with students. Our mentorship program, The DOT Exchange, connects students, alumni and peers, giving mentees opportunities to broaden their professional networks and develop their skills through workshops and presentations. Graduating students benefit from our busy on-campus recruitment schedule. Each term, we invite national and international studios and design firms to meet graduating students and review their portfolios. Recent companies have included Apple, BMW Group / Designworks USA, Dreamworks Animation, NONOBJECT, Oakley and Saatchi & Saatchi. See page 214 for a more comprehensive list. Finally, our Office coordinates the dotJOBS website, an online job posting service available exclusively to graduating students and alumni of Art Center.
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1 STUDENT CHLOE MYASKOVSKY PROGRAM SATURDAY HIGH CLASS COSTUME FIGURE DRAWING INSTRUCTOR JEAN-PAUL ORPINAS 2 STUDENT NINA THOMASIAN PROGRAM ART CENTER AT NIGHT CLASS INTRODUCTION TO GRAPHIC DESIGN INSTRUCTOR DAN HOY
Public Programs
PUBLIC PROGRAMS
Creativity is inherent in all of us. Public Programs offer unparalleled educational opportunities in art and design for students of all ages and levels of experience to access and maximize their creativity. Dana L. Walker
Managing Director Public Programs
Serving as a gateway to the degree programs, our Public Programs provide access to exceptional instruction, facilities and networking opportunities. Headquartered at South Campus, these programs feature a varied and evolving curriculum led by a dedicated faculty of professional artists and top design practitioners, many of whom are Art Center alumni. Art Center at Night (ACN), our part-time continuing studies program, is where many Art Center students first explore the educational opportunities offered at the College to take courses and create projects vital in the development of portfolios for admissions. ACN is also a resource for art and design professionals as well as adults new to the creative process. ACN offers a wide range of challenging, studio-based and academic classes taught by many of the same faculty who teach in the degree programs. Many degree students begin their exploration of majors through Saturday High, our program for high school students (grades 9 through 12). In Saturday High, students discover their creative voices and explore a rich art and design curriculum in a college environment. These courses mirror the diverse disciplines of the College and reflect Art Centers founding educational philosophy. Art Center for Kids nurtures creativity and fosters an understanding of the art and design process in children in grades 4 through 8. Innovative courses include everything from sculpture and photography to architecture, graphic design, film and digital media. The Summer Institute for Teachers is a community resource for K-12 educators in all subjects and grade levels. The intensive, fiveday workshop is based on a proven and award-winning methodology called Design-Based Learning, which taps students natural creativity to develop higher-level thinking and enhance comprehension of the K-12 standards-based curriculum.
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Undergraduate Admissions
We believe there is a right college for each art and design studenta place that provides the right education for you as an individual. We hope you will visit us, spend time on our campus, view our student work and become familiar with the accomplishments of our alumni and faculty. Our Admissions counselors are here to guide you through the application process, answer your questions and serve as your admissions mentors. Art Center welcomes applications from students who are committed to pursuing a career in the visual arts and design. The programs are specialized, so applicants must seriously consider their choice of major before applying. Your classmates will be serious and talented. We are committed to bringing together a diverse and motivated group of students who will join our exceptional facultywho together create your classroom experience. Admission to Art Center is based on a strong portfolio, a sound academic record in high school or college, and information derived from your essays and other application responses. Admission is need blind; the acceptance process is independent of your financial circumstances.
Your Choice of Major

You will be choosing a major at the time you apply to Art Center. We offer 10 undergraduate programs and each curriculum is distinct from the very first term of your program. It is important that you read about the majors carefully and then review the portfolio requirements for that major. Bachelor of Fine Arts (B.F.A.) Advertising Film Fine Art Graphic Design Illustration Photography and Imaging Bachelor of Science (B.S.) Entertainment Design Environmental Design Product Design Transportation Design
Art Center does not offer a foundation

(undeclared major) program. Students apply directly to one of 10 undergraduate majors and a portfolio of work specific to that major is required. Read the portfolio requirements section. We encourage students to spend time exploring their choice of major prior to Art Center. This will be an important commitment; while it is possible to change majors, it is not guaranteed, and can result in starting over in the new major. All degree requirements, including your studio art and Humanities and Design Sciences classes, are offered at Art Center. You can take the entire program here, or transfer in credits prior to entry.
Counseling and Visiting

We would like to start working with you early on in your application process. Visit us!
Counseling: Meet with an Admissions

counselor for guidance on portfolio preparation and the admissions process. Sessions are not formal admissions interviews, but will help you direct your portfolio development.
Arrangements can be made for phone

counseling sessions if you email or post your portfolio work.
Tour: Student-led tours of our Hillside

Campus are held MondayFriday at 2 pm.
Your Program of Study

Most students will enroll in a program that
takes a minimum of eight 15-week terms, or semesters.
Call 626-396-2373 for a counseling or tour

appointment or to speak with a counselor if you cant visit in person.
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ADMISSIONS
There are three scheduled terms in each

academic year: Fall, Spring and Summer. Students can attend one, two or three terms per year depending on the rate at which they want to complete the program. Students who attend all year round for three terms can finish in a minimum of two years and eight months. The exception is Entertainment Design students who attend studio classes in the Fall and Spring only; Summers may be taken off, or students may take Humanities and Design Sciences classes.
Veterans
Art Center is approved for veterans study under several GI bills, including the Yellow Ribbons program. Veterans should contact the Financial Aid Office at 626-396-2217 for information.
Special Student Status

Art Center occasionally admits students to its Special Status program. These students are allowed to attend Art Center classes for up to three terms on a non-degree basis. Applicants complete the admissions procedure for undergraduate students and check off Special Student Status on the application form. Special Status students pay the current full-time tuition rate, and are not eligible for financial aid or scholarships. To qualify, students must show an advanced level portfolio for one major. The program is intended for students who have had significant work and educational experience. Students cannot transfer to the degree program once enrolled as non-degree students. Certain academic policies and services do not apply to Special Status students, and they must abide by all College policies.
Transfer Students
Students who have completed studio coursework at another college that parallels the major coursework at Art Center may receive advanced standing.
Advanced standing is based on the level

and content of the portfolio and prior college experience. Studio transfer credit is based on portfolio review at the time of admission as well as evaluation of prior college transcripts.
Humanities and Design Sciences (liberal

arts) transfer credit is awarded based on Art Centers requirements and comparable credits taken at another college.
Awarding of studio credit, not Humanities

and Design Sciences credits, determines the length of the program. Refer to the section on Transfer Credit for more information.
Undergraduate Application Requirements

Requirements are subject to change, and we recommend consulting the Art Center website for any updates on this printed information. Follow these steps to complete your application. All materials should be sent to: Admissions Office, Art Center College of Design, 1700 Lida Street, Pasadena, CA 91103 1) Complete the application for admission. Complete the application for admission online or download it from our website, artcenter.edu. 2) Complete all required essays described on the application.
International Students
Art Center welcomes and values its international students and the cultural diversity they bring to our campus. As Art Center courses are conducted in English, undergraduate applicants with a native language other than English must score at least 80 on the Internet-based TOEFL (iBT). Details are included in the Admissions Requirements Section. For more information about programs and services for international students, please visit our website at artcenter.edu.
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3) Submit the non-refundable application fee. The nonrefundable application fee is $50 for U.S. citizens and permanent alien residents or $70 for students requiring an F-1 student visa. Fee waiver requests can be submitted from the College Board or requested by a guidance counselor or financial aid officer. 4) Submit your official high school and college transcripts. Request that your transcripts be sent directly from your high school and/or colleges to the Admissions Office.
5) Submit official copies of SAT or ACT scores. Students currently enrolled in a U.S. high school should request SAT or ACT scores be sent directly from the applicable testing agency. 6) Submit TOEFL (Test of English as Foreign Language) if applicable. Undergraduate applicants who have not completed a high school diploma or bachelors degree in which the language of instruction was English must take the Internet-based TOEFL (iBT). Students who have taken ESL classes in high school may be asked to submit a TOEFL. The Admissions Committee may request a TOEFL from any student whose command of English is in doubt based on interview, writing ability, or prior grades or test scores.
High school transcripts or a G.E.D. must

be submitted by all students except those holding a prior bachelors degree. These should be final transcripts for those who have completed high school and pending transcripts for those still enrolled. Students must have completed or anticipate completing high school or a General Equivalency Diploma (G.E.D.) prior to their enrollment. Home-schooled students should submit transcripts that include course titles, grades, credits, and signature of the home-school administrator.
A score of 80 is required, and each section

of the score will be evaluated for proficiency. Scores must come directly from ETS and must have been taken within two years prior to the time of application. 7) Submit a portfolio of your original work. Refer to the Portfolio Requirement section for details on the specific requirements for your chosen major.
College transcripts should be requested

from each individual college attended.
International transcripts that are not

provided in English directly from the issuing institution must be presented both in the original language form and translated into English by a translation agency or official translator. Transcripts that are not provided in English by the institution, or are not provided in credit hours, may be submitted by Art Center to an evaluation service.This cost is assumed by Art Center.
Complete the Portfolio Return Form (found

with the online application) and submit it with your application or with your portfolio.
Mail your portfolio by insured mail to the

Admissions Office or bring it in person MondayFriday, 8:30 am4:30 pm.
Submit a check or money order made payable

to Art Center in U.S. dollars for return postage if shipping outside the U.S. No payment is required for shipping within the U.S.
Non-degree programs: If you have attended

a non-degree school program or tutorial, list it on your application.
Accepted applicants who are applying for

scholarships and financial aid should be prepared to leave their portfolios on file for scholarship review, or resubmit their portfolios by the priority scholarship application deadline.
Once submitted, all documents become

the property of the College and cannot be returned to the applicant.
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ADMISSIONS
Portfolio Requirements
Meet with an Admissions Counselor for advice on preparation of your portfolio at a National Portfolio Day or by appointment in our Admissions Office.
Art Center requires a major-specific portfolio.

Find your major in this section and follow the portfolio requirements listed. Read the requirements for each major to determine whether originals are required or if color copies or CD format are acceptable. Dont submit framed or rolled work.
Affix your name and the date of completion

on each piece (back or front).
Although great care is taken, Art Center

does not accept responsibility for loss of or damage to portfolios.
If you have previous experience in advertising (either professionally or in coursework), submit 8 to 10 original print advertising concepts. These should demonstrate your facility with both copy (words) and visuals. Include preliminary sketches demonstrating your idea-generation process. If youve worked in video or created ads in other media, include those as well. If you have no previous experience in advertising, submit at least five pieces that demonstrate your creativity and your ability to represent your ideas visually. In addition, weve created some assignments to help you demonstrate your potential for advertising. Select three or four assignments from suggestions below or substitute equivalent assignments of your own devising. Create these through drawings, photography, photo-collage, digital images or any combination of these.
Instruct us how to return your portfolio via

the Portfolio Return Form to be included with your portfolio. You can pick up your portfolio from us during Admissions office hours or we will mail it back to you, insured for $100. Space consideration may necessitate the disposal of portfolios not claimed within six months after review.
Select an existing print ad and recreate it.

Make it better.
Create a print campaign that sells you to

Art Center. These could include multiple versions of magazine or newspaper ads or posters. Each ad should emphasize a different one of your good qualities.
Create a print ad (magazine, newspaper

or poster) promoting any one of the seven deadly sins.
Portfolio Requirements by Major

Advertising
Advertising majors should demonstrate innovative thinking with words and images to promote products or ideas through ads. Work should demonstrate a fresh, original way of looking at things, possibly incorporating humor or other means by which the publics attention is drawn to the ad. Your advertising portfolio work should be clean, clear and wellpresented, but spend the majority of your time coming up with interesting, sharp, original, I-never-would-have-thought-of-that ads. The quality of your thinking is more important than the finish.
Design a campaign to teach preteens the

importance of staying in school.
Go to a hardware store and pick up 10 paint

color chips. Cross out the names, and rename the colors. All the names must relate to sleep.
The task of a concept designer for the entertainment industry is to provide an infinite number of design variations of characters, environments, vehicles and props for stories taking place in the past, present or future. Your portfolio should include examples of your original design ideas created for a story of your invention or an existing story. These should be well-communicated through drawings and renderings. Examples in all four of the major subject topicsenvironments, characters, vehicles and propsshould be
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included in your portfolio. Include both early concept design sketches and more finished renderings to demonstrate your thinking process. Emphasize well-drawn original design variations more than highly finished color renderings. Color copies or prints may be submitted in lieu of original color work. Do not submit your work on a CD. Sketchbooks are a welcome addition. Traditional media sketches, pencil, pen and/or imagery created digitally and presented as a print are acceptable. Space is extremely limited in this program. Students who have a strong interest in another major may indicate another choice of major on their applications and fulfull those portfolio requirements. However, they should do so only if they are prepared to commit to that major. It is not possible to transfer into Entertainment Design from another major after enrollment.
Film
Submit completed film or video projects of at least five but no longer than 20 minutes total running time. The filmed work should tell a story or present a point of view, rather than simply record a situation. The work should demonstrate concern for visual composition, staging, editing, sound and competent post-production. Submitted work may be a documentary, drama, comedy or several 30- to 60-second commercial spots or music videos. Still photographs, prints and artwork are helpful additions, but do not replace the required film work. If the work is collaborative, indicate your role on each production. Portfolio work is only accepted on NTSC DVDs, and should be authored with properly working menus if there is more than one piece to view. Care should be taken with the compression of the video and the packaging of the DVD in order to best present your work.
Submit a minimum of three spatially or 3Doriented projects that show solutions to a specific spatial design challenge. These should include drawings and sketches, along with photographs of models that demonstrate an understanding of 3D space, technical skills and design sensibility. Examples of work may include interior design, furniture design, lighting design, set design and architectural design projects. Limited examples of drafting or technical drawing are acceptable, but must be accompanied by 3D representations. Creative design concepts are as important as drawing and model-making skills. A descriptive paragraph explaining the design concept and solution should be included with each project submitted. Color copies of sketches and models are acceptable in lieu of originals. Other art and design related works can be included.
Fine Art
Include a representative selection of your work in any media. In addition to submitting examples of foundation skills, also present personal work that reveals experimentation and imagination. Any direction and any medium will be considered, including all forms of drawing, representational and nonobjective painting, sculpture, printmaking, photography, film, video and installation documentation. Conceptual work and artists statements are also welcome. For larger works, or if the originals are not available, submit color copies. Applicants seeking to major in Fine Art with a focus on Photography and Imaging should also submit at least eight photographs.
Graphic Design
Include layouts or comprehensives for graphic design projects, such as posters, brochures, editorial design, package design, motion graphics, Web design and identity systems. Pieces that exhibit communication of an issue, an individual point of view, or a unique approach to a problem are valuable. Provide process work that shows the development and variation of your ideas. Evidence of an understanding of and passion for typography is a must.
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ADMISSIONS
Samples of logotypes, lettering, life drawing and general color and design assignments should be included. If submitted work has been produced, attach an explanation of the role you played in the creation of the work. Color copies are acceptable in lieu of originals. Motion work should be submitted as storyboards as well as on CD (Quicktime files that are optimized at 200 MB or less and Mac-compatible). Submit print work via color copy or original format.
Product Design
Submit research/inspiration, sketches and finished drawings of three or more original product design projects (furniture, lighting, medical and computer equipment or consumer products such as appliances, tools, sporting goods, communications devices, toys or home accessories). Emphasis should be on the function of the product, as well as the aesthetics and originality of the design. Projects should show a thorough researching and exploration of a product from beginning through intermediate sketches to a final finished rendering of the product. Sketches should show a variety of solutions and decision-making, emphasizing innovative concepts or features of your ideas. Inclusion of models is optional. Include sketchbooks with additional product thinking and ideas. Color copies are acceptable in lieu of original drawings, but work should not be submitted on CD. Date each piece of your work.
Illustration
Submit 10 to 15 original figure drawings from life that include both gestural and more developed pieces. These should include a demonstration of sense of proportion and an understanding of light, shadow and line. Other observational drawings or paintings from life such as sketches of people, self-portraits, animals and scenes from nature and cityscapes should be included. Also submit five or more imaginative drawings or paintings that demonstrate a story or communicate an idea. These illustrations should include use of color and composition. Entertainment-related pieces such as character development can also be included. Sketchbooks that demonstrate your observations and thought process are recommended.
Portfolio submissions should demonstrate a passion for and curiosity about the future of transportation, including cars, trucks, public transportation, boats, motorcycles or alternative mobility. Submit four to five complete projects that show your original transportation design concepts through a series of sketches. These should represent a variety of types of vehicles. Inclusion of designs for non-vehicular products is encouraged. Drawing (non-digital) should be the primary means for communication of ideas. Submit ideas in project format: title and goal of project, research, audience, preliminary and final sketches. Inclusion of informal sketches (loose or in notebook form) that show idea development is highly recommended. Color copies are acceptable in lieu of originals, but do not submit work on CD.

Submit a minimum of 25 black-and-white, color or digital prints. Slides are not acceptable. Any combination of these is acceptable, but do not submit black-and-white exclusively. Photos should reflect a connection between idea and technique and display the applicants strengths in implementing an original image and vision. A variety of subjects and concept exploration are encouraged, but should include shots of people as subject matter. Projects and series can be included, but should not exclude a variety of other subject matter. Prints should be at least 8 x 10 inches and no larger than 16 x 20 inches. They should include related contact sheets when applicable. Works should be mounted, matted on boards or placed in clear pages in a binder or portfolio case.
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Dates and Deadlines

Art Center reviews and accepts applications on an ongoing or rolling basis for most undergraduate majors until a department is full for any given term. There are no specific admissions deadlines with the exception of priority application deadlines for scholarship applicants. You can apply to enter for the Fall, Spring or Summer term for most majors, with the exception of Advertising, Fine Art and Entertainment Design, which accept applications for the Fall and Spring terms only. Entertainment Design has a priority deadline of February 1 for Fall, and the decision to have a Spring entry class varies from year to year. Students can call Admissions to check the status of a potential Spring class. Once enrolled, Entertainment Design students take studio classes in the Fall and Spring terms only. They may take Humanities and Design Sciences classes in the Summer Term. Students can be considered for scholarship and financial aid at most times during the admissions cycle, but priority scholarship deadlines by which to submit the application materials and FAFSA are: Spring term: October 1 Summer term: February 1 Fall term: March 1 If room is unavailable in the term for which you are applying, the Admissions Committee will consider your application for the next consecutive available term.
A health certificate including tuberculosis test requirement will be mailed on acceptance and must be returned to the Admissions Office before orientation. Upon being admitted to the College, any person with a disability who might require special accommodation should discuss his or her needs with the Center for Student Experience staff. Students can request a copy of Art Centers student handbook, which contains additional policy information. A copy will be provided to all students at orientation.
Tuition Deposit
On acceptance, an enrollment agreement form and further instructions will be issued. The completed agreement, along with a $300 nonrefundable and nontransferable tuition deposit, is required to hold your place in the class. Tuition deposits will be accepted until classes are full for each term; acceptance does not guarantee a place in the class. A students place in the class cannot be assured until the College has sent the student a written confirmation of acceptance of the agreement and deposit. These are accepted on a first-come, first-served basis until the classes are filled. The availability of space can change rapidly. Students will be offered a place in the next available term as possible if they have been accepted but no space is currently available.
Deferrals
Accepted applicants can defer their admission for one consecutive term following their acceptance (provided there is room). The $300 tuition deposit will apply only to the term of original acceptance; only the acceptance, not the deposit, can be carried over. A new deposit is required for the subsequent term; each fee is nonrefundable.
Notifications, Tuition Deposit and Deferrals

Application Notifications
Applicants will be notified of the Admissions Committees decision in writing as soon as possible after receipt of all application materials, usually within three weeks. Art Center reserves the right to rescind an offer of admission at its discretion and if any information contained in the application is found to be incomplete, inaccurate or misleading or if additional information leads to serious concerns.
Readmission
Students who have been absent from Art Center without a leave of absence are subject to readmission procedures. Please contact the Office of Admission at 626-396-2373 for further information.
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ADMISSIONS
Transfer Credit
For a detailed description of eligible transfer credit by category, visit the Admissions section of the Art Center website. A maximum of 60 units of studio and academic credits may be transferred from another accredited institution. Art Center recognizes two types of transfer credit: credit for studio art classes, and credit for Humanities and Design Sciences (liberal arts) classes. Receipt of studio transfer credit, not Humanities and Design Sciences credit, determines the length of a students program at Art Center. Advanced standing is awarded only if the student receives studio art credit. Transfer credit will be accepted from colleges or universities that are accredited by one of the six regional associations of schools and collegesMiddle States (MASAC), New England (NEASC), North Central (NCASC), Northwest (NWCCU), Southern (SASAC), Western (WASC) or by the National Association of Schools of Art and Design (NASAD). International programs will be evaluated on an individual basis. Advanced Placement (AP) credit is awarded only for Humanities and Design Sciences classes based on an official score of 4 or 5 from Educational Testing Services (ETS). Art Center does not offer studio art credit for AP classes or CLEP. All studio and Humanities and Design Sciences transfer credit must be finalized by the end of a students first term at Art Center. Transfer credit will not be accepted after the student has enrolled in the degree program. It is the students responsibility to provide final official transcripts from all colleges attended. Credit will not be awarded based on unofficial transcripts or transcripts from colleges not previously disclosed on the application for admission.
Studio Art Credit

Studio art credit is awarded based on a combination of portfolio work and prior college credit. Portfolios are evaluated for studio credit at the time of admission. In addition to credit for prior college work, students may also be granted a maximum of 12 credits based on professional work experience. A transfer students program will be shortened only if one or more terms of studio transfer credit is awarded. The number of Humanities and Design Sciences credits transferred does not affect the length of the program but will lighten the course load. Studio courses taken through Art Center at Night, Art Centers non-degree continuing education program, are considered for transfer if the course is listed as transferable at the time of entry, is applicable to the major, and if a grade of B or better is achieved.
Humanities and Design Sciences Credit

Forty-five credits of Humanities and Design Sciences (HDS) are required for graduation. Some credits may be transferred, depending upon the major. A number of required liberal arts and sciences courses can be taken only at Art Center. These vary by major. Credits accepted for transfer must fall into these categories: Human, Culture, Material Environment and Professional Practice. This PDF <http://www.artcenter.edu/accd/ files/HDS_Requirements.pdf> describes general types of courses that fall into these categories. Other courses may qualify for transfer at the discretion of Enrollment Services. Credit is transferable for humanities and design sciences courses taken at another regionally accredited college in which a grade of C or better has been achieved for elective courses, or a grade of B or better for program/ required courses.
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Undergraduate students who have not previously completed a college-level English composition class from a regionally accredited U.S. college or university where the primary language of instruction is in English with a B or better, or AP test of 4 or 5 in English Composition or English literature are required to take a Writing Placement Test for purposes of placing you in the correct level of our required writing class during the orientation program. Classes taken at non-U.S. colleges in which the language of instruction is English will be evaluated on an individual basis. Any exception to the testing policy will be made on a case-bycase basis by the Chair of the Humanities and Design Sciences or his/her designee.
New Student Orientation and Class Scheduling

New students attend a mandatory orientation program held the week before the first day of the term. The orientation schedule will be sent the month prior to the start term to students who have submitted their tuition deposit. Students will prepare for their Art Center experience by receiving valuable information on campus life, academic expectations and policies; theyll also have opportunities to develop relationships with other students, faculty, Department Chairs and staff. In addition, students will receive access to their schedule of classes and officially register for their first term.
Arrival and Housing

We hope that you will call on the Admissions staff to help with questions or needs related to your arrival. We recommend that you arrive at least two weeks before classes if you are moving to Pasadena from within the U.S. If you are an international student, we recommend you arrive three to four weeks before the beginning of the term to find housing, get a drivers license, and get accustomed to Pasadena. While Art Center does not offer on-campus housing, the Center for the Student Experience coordinates information regarding local housing and roommate options (see page 186). This resource is available for admitted and current students and includes a variety of living arrangements including rooms within homes, guest houses, apartments and houses for rent. Art Center arranges with Universal Student Housing (USH) to make their listings available to Art Center students. USH lists affordable housing in the homes of approved local families and individuals.
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Graduate Admissions
Applications for admission to the graduate program are submitted to the Admissions Office. The faculty and chair of the specific graduate program make the evaluation and final admissions decision regarding each candidate. Graduate programs are normally six terms in length, with the exceptions of Broadcast Cinema, which is a four term program, and Media Design, which offers a four term path of study for experienced designers. Admission is need blind; the acceptance process is independent of your financial circumstances.
ADMISSIONS
3) Official transcripts from all colleges attended. A completed undergraduate degree must be verified prior to enrollment. 4) A TOEFL score of 100 or higher for international students. Graduate applicants whose bachelors degree was achieved in a language other than English must score at least 100 on the Internet-based TOEFL (iBT) to be considered for admission. 5) Major specific requirements. Please refer to the text below for additional requirements by program.
Visiting
Tour: Student-led tours of our Hillside
Campus are held MondayFriday at 2 pm.
Art
Graduate Art applicants can apply for the Fall, Spring or Summer terms on a rolling admissions basis. However, committee reviews do not take place during the summer. During the fall and spring, candidates will typically receive notification within two months after all materials are submitted. Notifications of financial aid or scholarships usually occur shortly after. 1) Complete all general graduate admissions requirements. 2) Submit your work. The MFA program in Art is open to candidates working in any medium. Applications may take the form of video, DVD or CD in Maccompatible format. Candidates working with film, video, performance or sound should send complete examples of each piece. Do not send original work or documentation that cannot be projected. 3) A letter of intent. A letter of intent of 1,000 words or less that includes discussion of your work and goals. There should be references to works of art, and ideas about art that you have found especially useful, in addition to any other relevant thoughts or information. 4) Your rsum. Y A short rsum covering educational and relevant experience.
Call Admissions at 626-396-2373 to arrange

a visit directly with the department to which you are applying. The Art and Media Design programs are housed at South Campus.
Programs of Study
Master of Fine Arts (M.F.A.) Art Broadcast Cinema (Film) Media Design Master of Science (M.S.) Industrial Design
Graduate Application and Portfolio Requirements

The following materials constitute a complete application. No application will be reviewed until all of these materials have been received.
General requirements for all majors:

1) A completed admission application. This can be downloaded or completed online at applyweb.com/apply/accd. 2) A nonrefundable application fee. A nonrefundable application fee of $50 for U.S. citizens and permanent aliens or $70 for non-U.S. citizens and non-U.S. permanent alien residents.
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5) Optional: letters of recommendation. Letters of recommendation are encouraged, but are not required.
4) Your rsum. Y A short rsum covering educational and relevant experience.
Broadcast Cinema
Broadcast Cinema applicants can apply for the Fall term only and are usually reviewed within one month after submission. 1) Complete all general graduate admissions requirements. 2) Submit your work. Submit completed film or video projects of at least three minutes total running time, but no longer then 20 minutes. The filmed work should tell a story or present a point of view, rather than simply record a situation. The work should demonstrate concern for photographic composition, staging, editing, sound and competent post-production. Submitted work may be a documentary, drama, comedy or several 30- to 60-second commercial spots or music videos. Still photographs, prints and artwork are helpful additions but do not replace the required film work. Portfolio work is accepted on NTSC DVDs only, and should be authored with properly working menus if there is more than one piece to view. Care should also be taken with the compression of the video and the packaging of the DVD in order to best present ones work. In the written statement accompanying the application, we are particularly interested in learning what inspired you to make films, what sorts of films youd like to make, and a little about your favorite, most inspirational filmmakers. 3) A graduate proposal. A graduate proposal that defines a film project that applicants feel will engage them during their course of study. While the proposal may of necessity be preliminary, it must be specific. It will not be so much autobiographical or a vision statement, but a one- to- five-page plan for a potential studio project. Applicants should outline their goals, including a preliminary proposal for a self-directed film project.
Industrial Design
Applications for Industrial Design are accepted for the Fall term only. Applications are due on February 1 for priority consideration, including potential for scholarship awards. Decisions are made in the month of March. If space is available, an additional review of applications will take place. The Industrial Design program is looking for bright, articulate, intellectual, literate and social individuals. Our student body typically includes a majority of students with Industrial Design undergraduate degrees and various levels of professional experience in that arena. Professional experience resulting in markettested designs is preferred. Candidates with a wide variety of undergraduate degrees and professional experience are also considered. Diversity and breadth of background plays an important role in defining the cross-disciplinary culture of the program. 1) Complete all general graduate admissions requirements. 2) Submit your portfolio. Submit a portfolio of work demonstrating your design abilities. We are interested in seeing examples of projects that show your process and how you develop ideas into the project results. Sketchbooks are welcome additions to finished portfolios. The following are especially important:
Ability to make appropriate and humancentered designs.
Ability to take a systems approach to design

solutions, demonstrating an understanding of the context, business, technological and human-related aspects.
Ability to write and communicate effectively. Ability to display an understanding of and

experience with 3D form and design.
Effective drawing and other visualization

abilities.
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ADMISSIONS
Demonstration of a great aesthetic design

sensibility and abilityfor style, proportion, shape, material, color, etc.
Ability to select important projects and

identify real needs.
Ability to research, investigate and analyze

design topics.
Ability to experiment, think laterally and

engage in creative idea generation activities.
Ability to provide solutions for real needs

and problems and create value for the human condition; satisfy an aesthetic appetite for the creation of new market-driven style and products such as chairs, desk sets, cars and designer teapots. 3) Two written essays, as follows: T a. A letter of intent of not more than 1,000 words focused on the applicants motivation for pursuing graduate study in Industrial Design at Art Center, discussing personal goals for the future after completion of the program, and views regarding any specific areas of interest within the field. b. A brief summary for a project proposal: $10 million and two years. Description of a program of activity that the candidate would (hypothetically) propose to work on if given an open budget of $10 million and two years to work on a project of their choice. 4) Your rsum. Y A short rsum and bio covering educational and relevant prior experience. 5) Letters of recommendation. One to three letters of recommendation from academic and professional references.
hybrid interests who wish to use the power of design to become stakeholders, entrepreneurs, cultural interventionists and visionaries. Applicants should be self-starters who can integrate innovative design with intellectual investigation, who can synthesize theory and practice, and who can research personal interests with depth, intelligence and passion. Applicants must have earned, or be in the process of completing a bachelors degree. The MDP offers multiple paths that are appropriate to applicants with different backgrounds and goals. Students are placed by the Application Review Committee into one of the two paths based upon their rsum, design portfolio, personal statement and stated preferences on the Media Design Program Supplemental Application Form. For the two-year path, we look for applicants with exceptional training and experience in the visual, spatial, interactive and graphic design fields who can realize high-level concepts with skill in visual communication and interactive design. For the three-year path, we accept both accomplished and burgeoning designers from a broad range of backgrounds. Applicants with degrees in fields such as information technology, philosophy or biologyto name just a few bring valuable perspectives to the practice of design. We welcome applicants from all domains. 1) Complete all general graduate admissions requirements. 2) Complete the Media Design Program Supplemental Application. In addition to the Art Center application form, applicants must complete the Media Design Program Supplemental Application, which helps the MDP faculty to evaluate which degree path is most appropriate for an applicant. Download a PDF of the form at artcenter.edu/application/mdp_supplement. Submit a hard copy of the completed form with your other materials to the Admissions office. 3) Submit your portfolio. The design portfolio is the cornerstone of the application submission materials. It should be a professionally presented body
Media Design
Applications for Media Design are accepted for the Fall term only. Applications are due on February 1 for priority consideration, including potential for scholarship awards. Decisions and notifications are made in March. The Media Design Program (MDP) seeks individuals who want to change the world through design. Ideal applicants are risk-takers with
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of work that demonstrates the applicants expertise in the conception and creation of sophisticated design and other relevant works (e.g. creative or critical writing, business plans, software, curriculum, research, grants, etc.). Portfolios must demonstrate a sophisticated use of three or more of the following: typography, motion, narrative, information displays, navigational interface design, interaction design, and original imagery (still, moving, photographic or non-photographic) in the context of finished design work. Projects can be professional, self-initiated and/or class assignments. Please edit your portfolio to highlight your best and most relevant work. Brief written descriptions of the projects should accompany each piece. Collaborative or commercial pieces should clearly state the applicants contribution or role. Original work should be presented in print or digital (e.g. PDFs, HTML, JPEGs or SWFs on a CD or DVD) format. No videotapes or slides. Digital work must be compatible with both Mac OS and Windows. We recommend that you include a second copy of any digital media for safety. Label every piece with your name and include a written inventory of your portfolio contents. 4) Statement of intent. Applications must include a personal statement of intent. This essay should outline the applicants motivation for pursuing graduate study in the Media Design Program, discuss personal goals for the future and outline any specific areas of interest within the field. While it is not necessary to propose a specific topic for the thesis project, a discussion of possible directions is helpful. The personal statement should be clear and concise, no less than one and no more than four pages in length. 5) Your rsum. Y A rsum summarizing the applicants educational and professional background. It should highlight relevant academic studies, project work, awards and achievements, and work experience.
6) Letters of recommendation. Letters of recommendation (one to three) from academic and professional references are strongly encouraged and should be from people who are familiar with the applicants work and experience, and should speak to an ability to conceptualize, execute and communicate design.
Notifications, Tuition Deposit and Deferrals

Application Notifications
Applicants will be notified of the Admissions Committees decision in writing on a rolling basis for Art and Broadcast Cinema and in March for Industrial Design and Media Design.
Tuition Deposit
Spaces in the graduate programs are limited. Spaces are reserved based on receipt of a $300 non-refundable tuition deposit and are accepted on a first-come, first-served basis. Applicants should be aware that the status of openings can change very quickly, spaces are not guaranteed, and they can consider their space reserved only after receiving a written confirmation from the Admissions Office. Art Center reserves the right to rescind an offer of admission at its discretion and if any information contained in the application is found to be incomplete, inaccurate or misleading or if additional information leads to serious concerns.
Deferrals
Deferrals of admission are not possible with the exception of the Art program.
New Student Orientation and Class Scheduling

See page 197 in the Undergraduate section.
Arrival and Housing

See page 197 in the Undergraduate section. Students can request a copy of Art Centers student handbook, which contains additional policy information. A copy will be provided to all students at orientation.
202
Tuition and Fees

Tuition
Art Centers 2010 undergraduate tuition is $15,834 per term; 2010 graduate tuition is $16,737 per term. Each terms tuition covers a full-time program (1219 units). Tuition will be due and payable the Friday of the first week of classes. You can pay by check, credit card or cash. If you choose not to pay the full amount of your tuition during that first week of classes, you will be charged a $75 nonrefundable finance charge and will allow deferral of your tuition payment until the Friday of Week 10 of the term. If you are receiving financial aid, those amounts will be credited to your account and deducted from the amount due.
TUITION
Universal Access Fee

$250 is charged to all students for access to all Art Center labs and shops. Fees are subject to change and are refundable on the same schedule as tuition.
Living Expenses and Supplies

Art Center does not offer dormitories, and living costs vary based on the size of accommodations rented. However, we estimate an average amount for rent and food per term to be $6,700 for students not living at home. Students should allow an average of $1,000 for personal expenses, $1,000 for transportation, and $2,000 for supplies each term. The supply amount is variable by major and individual projects. At the start of each term, students are given lists of necessary supplies by individual instructors.
Art Center Student Health Insurance

All enrolled Art Center students are automatically covered by a student health insurance policy upon registration. This is a free benefit and service to students with no additional charge.
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Financial Aid
We encourage all students who need financial assistance to apply for aid. Applying for financial aid in no way affects your admissions decision.
Application Procedure
1) A financial aid brochure that outlines the various financial aid opportunities can be obtained by calling the Admissions Office at 626-396-2373 or by visiting artcenter.edu for full information on financial aid. 2) U.S. students must start the application process for all types of aid, including scholarships, by completing the Free Application for Student Aid (FAFSA) at fafsa.ed.gov. 3) International students do not need to file any financial aid forms. They are eligible to apply for scholarships by submitting their application materials by the priority scholarship deadlines listed here.
3) The Cal Grant, for students who attended high school in California, has a FAFSA and grade point verification deadline of March 2. The grade point average must be certified by the registrar at your prior college (or high school if you have earned fewer than 24 college units) and submitted to the California Aid Commission. Obtain a GPA verification form on the Commissions website at csac.ca.gov.
Scholarships for U.S. and International Students

1) Art Centers own scholarships are limited in number and are awarded to students who demonstrate financial need and show exceptional potential in their portfolio and academic record. Applicants for entering scholarships must have submitted their application for admission, transcripts, test scores, portfolio and FAFSA (U.S. students only) by the deadlines listed below for priority consideration. International students submit admissions materials only. 2) If you miss these priority deadlines, scholarship funds may still be possible on an as-available basis, and other forms of aid, such as Federal Stafford Loans and Federal Pell Grants, may be available as well.
Financial Aid and Scholarships for Undergraduate Students

Financial Aid for U.S. Students
1) Submit the FAFSA in January if possible, regardless of the term for which you are applying. You can continue to submit the FAFSA at any point during the year, but some programs, such as Cal Grants, have once-a-year deadlines. 2) By submitting your FAFSA, the Financial Aid Office can consider your eligibility for programs such as the federal Pell Grant, Federal Work Study, Federal Stafford Loans and Art Center scholarships. The Financial Aid office will notify you of your aid after your acceptance.
Priority Scholarship Deadlines

Submit FAFSA (U.S. students) and all application materials by: Summer term: February 1 Fall term: March 1 Spring term: October 1
Notification of Scholarship Awards

Applicants who have met all deadlines and who have been accepted will be notified of any Art Center scholarships by: Summer term: March 15 Fall term: April 15 Spring term: November 15
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FINANCIAL AID
Financial Aid and Scholarships for Graduate Students

Graduate students can apply for scholarships, which are generally need and merit-based. Request the Financial Aid brochure at 626-396-2215 or visit the Art Center website for more detailed information. U.S. citizens and permanent alien residents must complete both the admissions requirements and the FAFSA to be considered for scholarships and financial aid. International students need only submit application materials. Scholarship priority deadlines for submission of all admissions materials:
Federal Supplemental Education Opportunity Grant (SEOG) (undergraduate only) Amount: Up to $1,500 per year. Based on financial need with priority given to students who are receiving Federal Pell Grants. State Grants: Cal A and Cal B (undergraduate only) Amount: up to $9,708 per academic year. Awarded by the California Student Aid Commission based on financial need and academic achievement for students who have graduated from high school in California without a prior bachelors degree. Cal B Grants for students from low-income families, include a living allowance during the first year of the award, and partial fees and a stipend in subsequent years. Residents of other states should ask their state aid agency if state grants can be used at a California college.
Art
Fall entry: March 1 Spring entry: October 1 Summer entry: February 1
Broadcast Cinema
Fall entry: March 1
Scholarships
Art Center Scholarships Amount: Dependent on merit and need. Awarded by Art Center. Both new and currently enrolled students may apply for Art Center scholarships. All U.S. applicants must demonstrate financial need on the FAFSA. International students apply for scholarships without the FAFSA. Based on merit demonstrated in the portfolio and academic record. Renewed throughout the course of study with maintenance of a grade point average of 3.0 and continued demonstration of need. Other Scholarship Resources In addition to applying for Art Center scholarships, students are encouraged to explore other scholarship resources. Many foundations and corporations offer scholarship funds and actively seek qualified applicants. To research these opportunities, please see the Admissions website for an online resource directory or visit search sites like scholarships.com or fastweb.com.
Industrial Design
Fall entry: February 1
Media Design
Fall entry: February 1
Types of Aid
For the most detailed information on types of assistance available, consult the Art Center financial aid brochure. The amounts of awards listed here are for the 201011 academic year.
Grants for U.S. Students

Art Center participates in the Federal Pell Grant, SEOG and Cal Grant programs. Awarded to eligible undergraduates without prior bachelors degrees on the basis of need. Federal Pell Grant (undergraduate only) Amount: Up to $8,325 for full-time attendance per year for U.S. citizens or permanent residents enrolled at least half-time and based on need.
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Employment Opportunities
Federal Work Study Program Amount: Varies. Hourly rate ranges from $8 to $12 and paid through biweekly paycheck. Jobs may be on- or off-campus. Off-Campus Employment Amount: Varies. Part-time positions are listed by Art Centers Career Services Office; some may be related to a students major. Students cannot maintain a full-time job while enrolled at Art Center.
Federal PLUS Loan (undergraduate only) Amount: Parents may borrow up to the cost of education per child minus other financial aid per academic year. Interest rate is fixed at 7.9%. and eligibility based on credit requirements. Alternative Loan Programs Funded by participating banks or credit unions up to the estimated cost of education minus other financial aid received. Based on credit worthiness or participation of co-signer. Variable rates.
Loans
Federal Direct Subsidized Stafford Loan Amount: $3,500 per academic year for firstyear undergraduates; $4,500 for second-year undergraduates; $5,500 per academic year for years three through five; $8,500 per academic year for graduate students. The total Federal Direct Subsidized Stafford Loan debt possible as an undergraduate is $23,000. The total for graduate study is $65,500, including any loans made at the undergraduate level. Graduate student interest rate is fixed at 6.8%. The undergraduate rate will be 4.5% for 201011 with a reduction over the next year to 3.4%. Federal Direct Unsubsidized Stafford Loan Amount: For independent students, annual loan limits are $6,000 per academic year for undergraduates in years one and two, and $7,000 per academic year for years three through five, with a total aggregate limit of $57,500, including any Federal Direct Stafford Loans or SLS Loans received. Graduate students may borrow up to $12,000 per academic year, with a cumulative limit of $138,500, including any undergraduate Stafford or SLS Loans. Federal Direct Grad PLUS Loan Provides funding for graduate students beyond the amounts borrowed under the Subsidized and Unsubsidized Stafford programs. Amount: Up to the cost of education for the academic year minus other financial aid received with no aggregate limit. Interest rate is fixed at 7.9%. Must meet credit eligibility requirements.
Financial Aid Return of Funds Policy

The Financial Aid Office recalculates federal financial aid eligibility for students who withdraw, drop out, are dismissed or take a leave of absence after beginning classes but prior to completing 60 percent of a term. Recalculation is based on the percentage of earned aid using the following formula: percent earned = number of days total days in the term. Federal financial aid is returned to the federal government based on the percentage of unearned aid using the following formula: aid to be returned = (100% % earned) x the amount of aid disbursed toward tuition and fees. When aid is returned, the student may owe a balance to Art Center. The withdrawal date for return of federal funds is the date the student began the institutions official withdrawal process or otherwise provided official notification, or, for a student who leaves without notifying the institution, the midpoint of the term. For assistance in applying for financial aid, contact the Financial Aid Office at 626-396-2215.
76%: PERCENTAGE OF ART CENTER STUDENTS QUALIFYING FOR AID
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Academic Information
Terms/Semester System
Art Center offers three full terms (semesters) each year: Fall, Spring and Summer. Each term is 15 weeks long.
ACADEMIC INFORMATION
Graduation Rates
The Student Right-to-Know Act mandates that all institutions disclose their graduation rates. In 2009, the graduation rate for first-time undergraduate students who entered in the fall of 2002 was 71 percent. This information does not include transfer, exchange or specialcertificate students. The graduation rate for all entering students for this same period was 87 percent. For further information, call Enrollment Services at 626-396-2316.
Course Load
Degree programs are full-time only, requiring a course load of between 12 and 19 units per term. Permission must be obtained to go below 12 units or for course load to exceed 19 units. However, students can enroll in a part-time term, called Art Center Lite, two times during their course of study. Graduation from Art Center is based upon successful completion of the curriculum of the department to which the student was admitted. This is estimated to take a minimum of eight terms, depending on availability of classes and amount of transfer credit awarded.
Other Policies
Family Education Rights and Privacy Act (FERPA) The Family Education Rights and Privacy Act (FERPA) affords students certain rights with respect to their education records. They are:
Schedules
Class schedules are arranged so that many subjects are taught in blocks once a week on a full-day basis. Many studio classes meet from 9 am to 4 pm. Other classes are from 8 am to 1 pm and from 2 to 7 pm. Some classes are scheduled in the evening and on Saturdays. Humanities and Design Sciences classes normally meet at 1, 4, or 7 pm on weekdays and occasionally on Saturdays. Independent-study courses are available by special permission.
The right of the student to inspect and

review his/her education records within 45 days of the day the College receives a request for access.
The right to request the amendment of

education records that the student believes are inaccurate or misleading.
The right of consent to disclosures of

identifiable information contained in the students education records, except to the extent that FERPA authorizes disclosure without consent. An exception to the policy against disclosure without consent is disclosure to College officials with legitimate educational interests.
Change of Major
Once enrolled, a student can apply for a change of major through a portfolio review process. Changes of major are not automatic, and students who change majors must meet all the requirements for their new major. This may entail additional terms of study.
The right to file a complaint with the

U.S. Department of Education concerning alleged failure by the College to comply with the requirements of FERPA. The name and address of the office that administers FERPA is: Family Policy Compliance Office U.S. Department of Education 400 Maryland Avenue, SW Washington, DC 20202-4605 The complete FERPA policy is available online at artcenter.edu.
Awarding of Degrees
To graduate, an undergraduate student must have completed all required course work and attained a cumulative Grade Point Average of at least 2.50. Graduate students must complete all course work with a minimum cumulative Grade Point Average of 3.00 and a thesis.
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Nondiscrimination Policy
Art Center has a long-standing commitment to promoting equal opportunities for all, without regard to race, sex, gender, color, age, religion, national origin, ancestry, marital status, sexual orientation, gender identity or any other basis proscribed by law. Any such discrimination is unlawful, violating Title VII of the Civil Rights Act of 1964, as amended, Title IX of the Education Code and California state law. If you believe you have been discriminated against on any such basis, you should notify the Dean of Students.
Changes to Policies, Procedures and Fees

Art Center reserves the right to change or modify tuition, fees, the calendar, or discontinue or modify course offerings, majors, graduation requirements, rules, policies and procedures as it deems necessary or appropriate. Students will be provided with notice of these changes whenever possible through means such as the College website, posted notices or the Student Handbook. No exceptions may be made to any of the academic or academic-related policies. No representation by any College employee to the contrary may be considered authorized or binding. For a more comprehensive and updated look at academic information, visit artcenter.edu.
Disability Policy
Art Center College of Design complies with the Americans with Disabilities Act, Section 504 of the Rehabilitation Act, and state and local requirements regarding students and applicants with disabilities. Under these laws, no otherwise qualified individual with a disability shall be denied access to or participation in the services, programs and activities of the College. It is the policy of the College that otherwise qualified students who have disabilities shall be given reasonable accommodation, including academic adjustment and auxiliary aids where appropriate, to ensure access to the Colleges overall educational program. Individual students shall receive reasonable and necessary accommodation, including adjustment and aids, based on specific information and assessment data provided by a qualified professional. Students with disabilities should not wait until they are struggling with course work or facing academic probation before notifying Art Center of their disability and seeking special accommodations. The Student Disability Services Coordinator should be notified of disabilities and requests for accommodations by the student as soon as he or she is admitted, or as soon as the students need for accommodations becomes known to the student.
Student Right to Know and Campus Security Act

Art Center complies with the Campus Security Act of 1991 as implemented in 1992. Information on compliance is available from the Director of Environmental Health and Safety.
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Facilities and Resources

We believe learning environments should both inspire creativity and have a meaningful impact on their surrounding community. Art Centers two Pasadena campuses fulfill this vision. From wooded acres in the San Raphael Hills to adaptive reuse in downtown Pasadena, our campuses provide students with a wide variety of resources and technology. Located on 175 acres in Pasadena, Hillside Campus is home to the Colleges undergraduate programs, Graduate Industrial Design and Graduate Broadcast Cinema programs, administrative offices and much of the Colleges faculty and staff. The main building is a dramatic, modernist steel-and-glass structure spanning an arroyo just above the Rose Bowl. Designed by Craig Ellwood and Associates, it has been designated a local historical landmark by the City of Pasadena. Campus South Campus, a former supersonic wind tunnel located in downtown Pasadena, opened in 2004. The facility houses Art Centers Graduate Art and Media Design programs as well as Public Programs serving the greater Los Angeles community with classes for all ages and skill levels. Embodying a commitment to responsible and sustainable development, South Campus was one of the first buildings in Pasadena to be LEED (Leadership in Energy and Environmental Design) certified. The Metro Gold Line train station is just one block away, giving students easy access to downtown Los Angeles. Our facilities and resources at both campuses provide students with an array of creative learning opportunities. Exhibition spaces, art and printmaking studios, a color, materials and trends exploration lab, 3-D prototyping and fabrication shops, photo and film stages, a comprehensive library and many other resources support and enhance the Art Center learning experience. Please visit artcenter.edu for more detailed descriptions. Note: H = Hillside Campus S = South Campus
CAMPUS
Auditoriums
Ahmanson Auditorium H 450-seat facility used for screening student films, as well as shorts and features from faculty and guest directors. Also host to a wide range of stage productions, concerts, speakers and multimedia events. L.A. Times Media Center H Intimate 75-seat venue used for lectures, multimedia presentations, community art programs and special events.
Campus
Food/Beverage Services H, S Beverage The Hillside Cafeteria is open for breakfast, lunch, dinner and snacks with seating available in the Student Dining Room and outside patios. Food service is also offered at South Campus during peak hours. Sinclaire Pavilion H Unique pavilion designed for student use; provides a flexible gallery space and open-air, amphitheater-type seating. Sculpture Garden H Sculptures installed in various outdoor locations. Several College events are staged here, including Graduation and Car Classic. Student Store H Discounted art and school supplies, textbooks, magazines and educationally priced software. Authorized Campus Store for Apple Computers.
Classrooms
Classrooms H, S Smart classroom environment, equipped with intuitive panel-control systems, simplifying the presentation of a vast array of media formats. Dedicated Project Classrooms H Large, open project rooms provide Industrial Design students space to spread out and leave their works-in-progress at the end of the day.
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Galleries
The Alyce de Roulet Williamson Gallery H A 4,600-square-foot, museum-quality space, offering various exhibitions by leading artists and designersoften integrated into the existing curriculum. Public Programs Gallery and Lobby S Exhibition space featuring degree program work as well as work specific to the Public Programs. Student Gallery H Exhibits exemplary work by undergraduate and graduate students, selected by Department Chairs each term and representing all disciplines. Undergraduate Fine Art Galleries H 684-square-foot gallery reserved primarily for solo senior exhibits and curated senior group exhibitions. An additional, slightly smaller gallery space is available to all art students.
Library
James Lemont Fogg Memorial Library H A comprehensive collection of resources on art and design, including over 93,000 books chosen for the practicing artist and designer; online resources in dozens of design disciplines including color forecasting, materials, business, entertainment, photography and fine arts; 8,000 films on DVD and other cinema formats; and high-resolution visual images. Limited and signed editions, portfolios and pop-up books can be found in the Rare Book Room. Subscriptions are maintained for more than 350 magazines, while online subscriptions provide access to thousands of magazine articles. With more than half a million volumes, the library at nearby Occidental College serves as another resource for Art Center students.
Photography and Film

Black-and-White Photography Lab H Provides manual deep tank and automated film processing, a Kreonite print processor and enlarging capability for all film formats from 35 mm to 8" x 10". A communal darkroom offers 40 enlarging stations, supplemented by private printing rooms. Color Photography Lab H Offers automated processing for E-6 and C-41. A programmable Wing-Lynch and C-41 handline is available for experimental color processing. Color enlargements are made with De Vere 4" x 5" and 8" x 10" enlargers in private printing rooms. Digital Video Editing Stations H Post-production/editing is completed using Final Cut Pro and Avid editing systems. Audio post-production/sound editing facilities include Pro Tools, Logic 7, and a recording room with a foley pit for dialogue looping and sound effects recording. A recording suite for music composition is also included.
Labs
Color, Materials and Trends Exploration Laboratory (CMTEL) H Innovative program offering expanded resources and expertise in color and materials technologies, as well as an understanding of global trends. Hosts a variety of events, lectures and courses on topics such as sustainable design, trend forecasting, lighting technologies and more. Computer Labs H, S The College provides a variety of campus computing options, including free wireless access. Digital Imaging Lab H Workstations for high-resolution scanning, digital printing from desktop to wide format, and manipulation are available. Interior Simulation Lab (SimLab) H Provides students with vital tools for studying automotive interiors. Students are able to construct full-size 3D interior mock-ups in the simulator, project full-size vehicle packages onto adjustable mannequins and work with a wide array of textiles and other materials.
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CAMPUS
Equipment Room H Provides authorized students, faculty, staff and others a variety of circulating photography, film and audiovisual equipment. Film equipment includes a range of Arriflex 16 mm, Super 16 mm and 35 mm film cameras, Panasonic and Canon digital video cameras utilizing stateof-the-art, high definition formats. The Film Department also maintains lighting, grip and sound equipment. Photography Equipment H The following are available for checkout by Photography students: extensive tungsten and strobe lighting equipment and grip equipment; 4" x 5" and 8" x10" Sinar P2 view cameras; digital SLRs and digital medium-format backs; 35 mm and medium-format cameras. Photo and Film Stages H Two fully equipped, 4,600-square-foot stages provide shooting space for all types of projects. A 24-foot strobe box and full cyc enable students to shoot automobiles and other large products. Post-Production Equipment H The following tools are available to students to complete record, film or video projects: Avid Media Composer with film option, Pro Tools, Final Cut Pro, Sony Betacam SP, DVCam and DVCPro. Professional Recording Studio H Offers students the latest in hard-disk recording technology, with a system that allows the maximum use of all types of audio in the digital domain. External analog effects include compressors, limiters and digital-signal processors. A selection of high-quality microphones is available, as well as AKG headphones.
Technical Skill Center/The Shops H The creation heart of Art Center, consisting of the Model Shop, Paint Booths, Rapid Prototyping, Metal Shop, CNC, Laser, Plaster Room, Sanding Room, Composite Lab and the Tool Crib. Students from all departments may receive training to use The Shops and have access to professional instructors, quality modeling facilities and cutting-edge tools and technology to assist them in acquiring expert skills. The work areas in The Shops are equipped with the latest professional equipment required to complete projects in woodworking, metal fabrication, vacuum forming, plastic sheet fabrication, and fiberglass and composite fabrication. There are dedicated facilities for sanding and buffing, rubber-mold making, plastic casting, sandblasting, spraypainting and plaster fabrication. All Art Center students, with approved projects, have access to the latest in rapid prototyping technologies in our 3D prototyping shops, including various types of 3D printers, mills and routers. Laser cutters are also available to cut or etch plastic, wood or composites for a wide range of projects. The Shops also feature a well-stocked tool and equipment checkout area and a retail sales area for materials. Writing Center H Provides individualized assistance on writing assignments, reading and research for all students, from first term to graduate level.
Studios
Art Studios H Individual studios for upper-term Fine Art students to create and present artwork. Graduate Art Complex S 35 individual studio spaces, a sculpture shop, welding/sculpture outdoor workspace, editing rooms, project rooms and galleries for use by Graduate Art students. Printmaking Studio S Enables students to explore intaglio, screen printing, stone and plate lithography, and various photographic printmaking techniques. The 3,000-square-foot studio also houses a press room, etching room and darkroom.
Special Resources
Archetype Press S A unique creative resource for students and the community, this 3,500-square-foot letterpress facility includes eight Vandercook proof presses, a Chandler & Price platen press, a Heidelberg Windmill press and 2,400-plus drawers of rare American and European metal foundry type, wood type and ornamentspossibly the largest such collection of any design school.
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20102012 Calendar
2010
Fall Term
Tuesday, September 7Friday, September 10: Orientation for Fall term Saturday, September 11: Fall classes begin Monday, October 11: Columbus Day, holiday Thursday, November 25Sunday, November 28: Thanksgiving holiday Saturday, December 18: Classes end Saturday, December 18: Graduation Vacation: December 19January 14
2011
Spring Term
Tuesday, January 11Friday, January 14: Orientation for Spring term Saturday, January 15: Spring classes begin Monday, January 17: Martin Luther King birthday, holiday Saturday, April 23: Classes end Saturday, April 23: Graduation Vacation: April 24May 13
Summer Term
Tuesday, May 10Friday, May 13: Orientation for Summer term Saturday, May 14: Summer classes begin Monday, May 30: Memorial Day holiday Monday, July 4: Independence Day holiday Saturday, August 20: Classes end Saturday, August 20: Graduation Vacation: August 21September 9
Fall Term
Tuesday, September 6Friday, September 9: Orientation for Fall term Saturday, September 10: Fall classes begin Monday, October 10: Columbus Day, holiday Thursday, November 24Sunday, November 27: Thanksgiving holiday Saturday, December 17: Classes end Saturday, December 17: Graduation Vacation: December 18January 13
2012
Spring Term
Tuesday, January 10Friday, January 13: Orientation for Spring term Saturday, January 14: Spring classes begin Monday, January 16: Martin Luther King birthday, holiday Saturday, April 21: Classes end Saturday, April 21: Graduation Vacation: April 22May 11
Summer Term
Tuesday, May 8Friday, May 11: Orientation for Summer term Saturday, May 12: Summer classes begin Monday, May 28: Memorial Day holiday Wednesday, July 4: Independence Day holiday Saturday, August 18: Classes end Saturday, August 18: Graduation Vacation: August 19September 7
212
Administration
College Administration
Following are the names of College administrators at the level of director and above. This list does not include numerous other individuals who support Art Center students and educational programs on a day-to-day basis. Lorne M. Buchman, President Nik Hafermaas, Acting Chief Academic Officer Fred Fehlau, Dean, Academic Affairs Jeffrey Hoffman, Dean of Students, Department of Student Affairs Arwen Duffy, Senior Vice President, Development and External Affairs George Falardeau, Senior Vice President, Real Estate and Operations Richard Haluschak, Senior Vice President and Chief Financial Officer Mariana Amatullo, Vice President and Director, Designmatters Kit Baron, Vice President, Admissions and Enrollment Management Elizabeth Galloway, Vice President, Library Director Stephen L. Nowlin, Vice President, Williamson Gallery Theresa Zix, Vice President, Information Technology Nancy Torres Duggan, Executive Director, Human Resources Wayne Herron, Senior Director, Development Steve Kim, Managing Director, Graphic Design Department Dana Walker, Managing Director, Public Programs and Director, Art Center at Night Kristine Bowne, Director, Alumni Relations Brian Boyl, Director, Interactive Design Donna Cameron, Director, Admissions Operations David Cawley, Director, Rapid Prototyping and Model Shops Elizabeth Collins, Director, Educational Partnerships Sean Donohue, Director, Research Ellie Eisner, Director, Design Office Oliver Galace, Director, Educational Media Bill Gartrell, Director, Enrollment Services and Registrar Jered Gold, Director, Public Relations and Communications Elias Gonzalez, Director, Admissions Programs Paula Goodman, Director, K-12 Programs
PEOPLE
Gerardo Herrera, Director, Package Design Ed Hansbury, Director, Recruitment Karen Hofmann, Director, Color, Materials and Trends Exploration Lab Julia Hur, Director, Humanities and Design Sciences Leslie Johnson, Director, Academic Affairs Simon Johnston, Director, Print Design Mitchell Kane, Director, Fine Art Department Gloria Kondrup, Director, Archetype Press Neal McCarthy, Director, Facilities Vicky McCormick, Director, Environmental Health and Safety Jane McFadden, Director, Art and Design History Clema McKenzie, Director, Financial Aid Jean Mitsunaga, Director, Career Development Heidrun Mumper-Drumm, Director, Sustainability Initiatives Thea Petchler, Director, Writing Jay Sanders, Director, Transportation Design Department Molly Smith, Director, Public Programs Jeannette Stramat, Director, Photo Operations Amy Swain, Director, Individual and Alumni Giving Ming Tai, Acting Director, Motion Design JoJo Tardino, Director, Special Events Geoff Wardle, Director, Advanced Mobility Research Kevin Wingate, Director, Graduate Media Design Anthony Zepeda, Director, Printmaking Studio Palencia Turner, Senior Development Officer Diane Wittenberg, Controller
Department Chairs
Wendy Adest, Integrated Studies Anne Burdick, Graduate Media Design Laurence Dreiband, Fine Art Ann Field, Illustration Penny Florence, Humanities and Design Sciences Jeremy Gilbert-Rolfe, Graduate Art Nik Hafermaas, Graphic Design Karen Hofmann, Product Design Dennis Keeley, Photography and Imaging Ross LaManna, Film David Mocarski, Environmental Design Andy Ogden, Graduate Industrial Design Robert W. Peterson, Graduate Broadcast Cinema Stewart Reed, Transportation Design Jim Wojtowicz, Interim Chair, Advertising Vacant, Entertainment Design
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2010 Board of Trustees

Robert C. Davidson Jr., Chairman Douglas C. Boyd (PROD 66) Lorne M. Buchman William T. Gross Kit Hinrichs (ADVT 63) William D. Horsfall Cleon T. Bud Knapp, Chairman Emeritus Timothy M. Kobe (ENVL 82) George H. Ladyman Jr. (TRAN 87) Samuel J. Mann Reiner M. Triltsch Paul A. Violich Judy C. Webb Alyce de Roulet Williamson
Emeritus Trustees
Richard N. Frank Edward Hanak Donald R. Kubly (ADVT 49) Frederick M. Nicholas Warren B. Williamson, Chairman Emeritus
Honorary Trustees
Wallis Annenberg David Baltimore Heinrich Baumann-Steiner Susan Caldwell Bettina Chandler Leland Clow Kenji Ekuan (PROD 57) Adelaide Hixon Jerry V. Johnson (ADVT 59) Nobuhiko Kawamoto Jon and Lillian Lovelace Frank Nuovo (PROD 86) Kazuo Okamoto Peggy Phelps
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On-Campus Recruitment
As part of our robust career development program (described on page 187), each term Art Center invites studios, galleries, design firms and companies to meet our graduating students. The following organizations participated in the On-Campus Recruitment Program during 2009 (partial list): 180 LA, Santa Monica, CA Added Value, Los Angeles, CA Angeleno Magazine, Los Angeles, CA Apple; Cupertino, CA Applied Minds, Glendale, CA Appy Entertainment, Carlsbad, CA Arnell, New York, NY Astro Studios, San Francisco, CA Big Fish Games, Seattle, WA Blind, Santa Monica, CA Blizzard Entertainment, Irvine, CA Blue Sky Studios, Greenwich, CT BMW / Designworks USA, Newbury Park, CA Bon Appetit, Los Angeles, CA BRC Imagination Arts, Burbank, CA Bradshaw International, Rancho Cucamonga, CA Brand New School, Los Angeles, CA Bright Automotive, Anderson, IN Calty Design Research, Newport Beach, CA Cartoon Network, Burbank, CA Chrysler, Auburn Hills, MI Clean Agency, South Pasadena, CA Continuum, Venice, CA Corey Helford Gallery, Culver City, CA Crispin Porter Bogusky, Boulder, CO David & Goliath, El Segundo, CA DC Shoes, Vista, CA DDB, Los Angeles, CA Deddens + Deddens, Los Angeles, CA Designory, Long Beach, CA Deutsch, Los Angeles, CA Digital Domain, Venice, CA DreamWorks Animation, Glendale, CA Eight, Inc., San Francisco, CA Electronic Arts LA, Los Angeles, CA Facebook, Palo Alto, CA Fisker Automotive / Coachbuild, Irvine, CA Focus Features, Universal City, CA Ford Motor Company, Dearborn, MI & Irvine, CA Fox Networks Group, Los Angeles, CA Fugitive Studios, Los Angeles, CA General Motors, Detroit, MI Gensler, Los Angeles, CA
CAREER DEVELOPMENT
Good, Los Angeles, CA Google, Mountain View, CA Honda R&D Americas, Torrance & Pasadena, CA Hyundai, Irvine, CA Image Movers Digital, San Rafael, CA Imaginary Forces, Hollywood, CA Industrial Light & Magic, San Francisco, CA Insomniac Games, Burbank, CA Johnson & Johnson, New York, NY Kawasaki Motors, Irvine, CA Kelton Research, Culver City, CA Kopeikin Gallery, West Hollywood, CA LeBasse Projects, Culver City, CA Lucasarts, San Rafael, CA M+B Gallery, Los Angeles, CA Mazda Design Americas, Irvine, CA Mercedes Benz of North America, Hollywood, CA METRO, Los Angeles, CA Motion Theory, Venice, CA Nickelodeon Animation Studios, Burbank, CA Nike, Beaverton, OR Nissan Design America, San Diego, CA NONOBJECT, Palo Alto, CA Orabor, Los Angeles, CA Pentagram, San Francisco, CA Pixar, Emeryville, CA Polaris, Minneapolis, MN Radical Publishing, Los Angeles, CA Rhythm & Hues, Los Angeles, CA Rios Clementi Hale Studios, Los Angeles, CA RTT, Pasadena, CA Saatchi & Saatchi, Torrance, CA Sony Pictures Imageworks, Culver City, CA Stuart Karten Design, Marina del Rey, CA SY Partners, San Francisco, CA Taschen, Los Angeles, CA TBWA \ CHIAT \ DAY, Los Angeles, CA CHIA Teague, Seattle, WA The Designory, Long Beach, CA The Hettema Group, Pasadena, CA The Hive Gallery & Studios, Los Angeles, CA Thinkwell, Burbank, CA Tokidoki, Los Angeles, CA Tokyopop, Los Angeles, CA Trailer Park, Hollywood, CA Volkswagen Group of America, Irvine, CA Volvo Cars of North America, Camarillo, CA Walt Disney Companies, Burbank, CA Whiskytree, San Rafael, CA WongDoody, Culver City, CA Yahoo!, Santa Monica, CA
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Index
Academic Information 206 Admissions 189207 Counseling appointments 189 Deadlines 195, 198200 Graduate 198201 Notification 201 Requirements 198201 Undergraduate 189197 Notification 195 Requirements 190194 Your Choice of Major 189 Advertising, undergraduate 2534 Course Requirements 32 Arrival and Housing 197, 201 197 Art, graduate 137146 Course Requirements 144 Art Center at Night/Continuing Studies 188 Art Center for Kids 188 Board of Trustees 213 Broadcast Cinema, graduate 147156 Course Requirements 154 Calendar, academic 211 Career Development 187, 214 187 Course load 206 Deferrals 195, 201 Department Chairs 212 Design-Based Learning 188 Designmatters 17, 184185 17 Disabled students 186, 207 English proficiency 1901, 198 Entertainment Design, undergraduate 3544 Course Requirements 42 Environmental Design, undergraduate 4554 Course Requirements 52 Expenses, living 202 Facilities and Resources 208210 Family Education Rights and Privacy Act 206 Fees 202 Film, undergraduate 5564 Course Requirements 62 Financial aid 203205 Deadlines 203204 Refund policy 205 Fine Art, undergraduate 6574 Course Requirements 72 Graduate Programs 133, 137180 Graduation rates 206 Graduation requirements 206 Grants 204 Graphic Design, undergraduate 7584 Course Requirements 82
Health Insurance 202 High school students 188 Housing 197, 201 197 Humanities and Design Sciences 11, 181, 196 Illustration, undergraduate 8594 Course Requirements 92 Industrial Design, graduate 157166 Course Requirements 164 Integrated Studies 182183 International students 190 Living expenses 202 Loans 205 Media Design, graduate 167176 Course Requirements 174 Nondiscrimination policy 207 Orientation 197, 201 197 Photography and Imaging, undergraduate 95104 Course Requirements 102 Portfolio requirements Undergraduate 192194 Graduate 198200 Portfolio return 192 Product Design, undergraduate 105114 Course Requirements 112 Public Programs 8, 10, 188 Readmission 195 Registration, new students 197 Saturday High 188 Schedules 206 Scholarships 203204 Special Status Program 190 Staff 212 Student Experience 186 Student Life, Office of 186 Studio Art Credit 196 Summer Institute for Teachers 188 Supplies, budgeting for 202 Tours 189, 198 Transfer credit 196 Transfer students 190 Transportation Design, undergraduate 115124 Course Requirements 122 Tuition 202 Deposit 195, 201 Veterans 190 Work study program 205
Credits
Published by the Department of Marketing and Communications Chairman of the Board of Trustees: Robert C. Davidson Jr. President: Lorne M. Buchman Senior Vice President, Development and External Affairs: Arwen Duffy Director, Public Relations and Communications: Jered Gold Director, Design Office: Ellie Eisner Creative Direction and Design: Winnie Li, Art Director/Senior Designer, Design Office; Simon Johnston, Director of Print, Graphic Design Department Designers: Eliana Dominguez, Seth Ferris Production Manager: Audrey Krauss Photographer: Steven A. Heller Associate Photographer: Vah Alaverdian Editorial Direction and Written Content: Vanessa Silberman Student Interviews: Lara Warren, Mike Winder Fonts: Akkurat, Monosten Paper: The papers used in this piece were sourced from well-managed sustainable forests: Cougar Cover, Endurance Gloss Book, Wausau Exact Brights, Wausau Opaque Colors Text, Wausau Astrobrights Text and Domtar Colors Opaque Text. Printer: Clear Image Printing Co., Glendale, CA Photo and Image Credits/Copyright: Page 22: Manhattan Beach; Photo: Robert Landau/CORBIS \\ Page 22: Walt Disney Concert Hall; Photo: Miguel Ramirez \\ Pages 54, 64, 114 and 123: Art Center students; Photos: Seth Ferris \\ Page 127: Jennifer Steinkamp, Daisy Bell, 2008; Photo: Robert Wedemeyer; Collection: Bank of America, New York, New York \\ Page 127: Jennifer Steinkamp, X-Room, 2000; Soundtrack: Andrew Bucksbarg; Photo: Peter Mauss/Esto \\ Page 127: Rafael Esquer, Bjrk Cocoon, album cover, 2002. Client: Bjrk, One Little Indian Records; Creative director: Eiko Ishioka; Designer: Rafael Esquer; 3D illustrator: Tim Wilder; Design firm: @radical.media \\ Page 181: Eija-Liisa Ahtila, The House, 2002, 14 min, DVD installation for three projections with sound. Photo: Marja-Leena Hukkanen. Crystal Eye Ltd., Helsinki. Courtesy of Marian Goodman Gallery, New York and Paris. Art Center College of Design does not endorse any of the products, brands or companies that may appear as part of any student work. In most cases, alumni artwork was provided directly by individual alumni. We thank them for their ongoing support and contributions to this Viewbook. 2010 Art Center College of Design All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without written permission of the publisher.
ARTCENTER.EDU
1700 LIDA STREET, PASADENA, CALIFORNIA 91103
+1 626 396 2200

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ART CENTER COLLEGE OF DESIGN / 20112012

ART CENTER COLLEGE OF DESIGN / 20112012

ART CENTER COLLEGE OF DESIGN / 20112012

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Lorne M. Buchman President

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ART CENTER COLLEGE OF DESIGN / 20112012

ART CENTER COLLEGE OF DESIGN / 20112012

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ART CENTER COLLEGE OF DESIGN / 20112012

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ART CENTER COLLEGE OF DESIGN / 20112012

ART CENTER COLLEGE OF DESIGN / 20112012

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