art center college of design undergraduate viewbook

2015–2016

Graphic Design student Michael Noh created the installation SYNC Cloud in Brad Bartlett’s Transmedia Typography course.

http://michaelnoh.com/sync-cloud/

Contents

President’s Message — 3

Being at Art Center — 4

Creativity Is in Demand — 18

Create Change — 28

Why Art Center? — 38

Advertising — 46

Entertainment Design — 56

Environmental Design — 66

Film — 76

Fine Art — 86

Graphic Design — 96

Illustration — 106

Interaction Design — 116

Photography and Imaging — 126

Product Design — 136

Transportation Design — 146

Undergraduate Admissions — 156

Academic Calendar — 167

Art Center at a Glance — 168

artcenter.edu/viewbook

3

President’s Message

One attribute has always been at the heart of an Art Center education: creativity. The world’s greatest cultural achieve-ments emerge from it. Today’s innovation economy depends on it. It’s what employers seek. It’s what our graduates offer. Our students and faculty cultivate creativity every day in their classrooms, studios and off-campus projects. A com-munity of bold imagination whose impact is recognized around the globe, we invite you to join us—to embark on an extraordinary education that will prepare you to invent new challenges and discover new opportunities. At Art Center, we’re not anticipating the future, we’re creating it.

Lorne M. BuchmanPresident

Being at Art

Center

1.

Art Center has taught me that creative inspiration arises from a process of perpetual observation, critical inquiry,

and fearless experimentation.CONNIE BAKSHI — ENVIRONMENTAL DESIGN STUDENT

5

The student experience

Ask our alumni to describe their time at Art Center College of Design and you’ll get an array of answers ranging from reward-ing to transformative to inspirational. But one thing you’ll never hear a student say is that their time here was easy.

That’s because 85 years ago Art Center’s first president, Edward “Tink” Adams, a former advertising executive, pioneered a curriculum designed to prepare artists and designers for essential roles in industry. While the College has expanded signifi-cantly since those days, our reputation still

revolves around the intensity of our degree programs—all of which depend upon the rigor and focus necessary to prepare our students for professional excellence and leadership.

Today this characteristic embodies what we call “the conservatory spirit.” Much like a conservatory for aspiring perform-ing artists, we offer a dedicated place for talented art and design students to grow and thrive; demanding and practical career preparation; and the guidance of an expert faculty of working professionals.

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

6

The Student Experience

While we offer full bachelor’s and master’s degree programs, like most conservatories, we encourage students to delve deeply into their chosen area of emphasis.

Our project-based transdisciplinary cur-riculum emphasizes “making” to give students the skills necessary to craft projects exceptionally well, and—adding further depth to our offerings—also places a strong focus on global challenges that have become too large to ignore. And whether you’re designing a motorcycle of the future through our Sponsored Projects courses (see p. 21) or devising a way of delivering safe drinking water to an im-poverished community in one of our social impact Designmatters classes (see p. 29), we place you in direct contact with profes-sionals and organizations on the leading edge of their fields.

Being pushed mentally beyond my comfort zone to think way

outside the box—that’s something I never experienced before.

THOKOZANI MABENA — TRANSPORTATION DESIGN STUDENT

We prepare all of our students for the vital contributions they can make as creative individuals. If your passion is creating useful products, telling unique stories, embracing technical innovation, effect-ing social change or pushing conceptual and aesthetic boundaries—or, perhaps, all of the above—our faculty will help you engage fully with your singular vision.

How does all this translate to your experi-ence as a student?

7

On-campus resources, from exhibition spaces to the Technical Skill Center, allow students to fulfill their creative vision.

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

8

Undergraduate studiesArt Center offers 11 undergraduate degrees. Unlike most other art and design colleges, we ask our undergraduate students to declare a major prior to their acceptance. This is an important decision, so please spend some time learning about each indi-vidual major prior to applying.

Regardless of your major, you may also take courses in the Integrated Studies Department, where your commitment to craft and making begins. In these classes, which cover material and processes com-mon to all disciplines, you learn to see with your hands and think with your eyes, allowing you to develop a physical and conceptual connection to your studio practice.

We believe visual literacy—the ability to make, understand and critique shapes, forms, images and spaces—depends on understanding the cultural, historical, scientific and narrative references em-bedded in all art and design. Art Center’s required Humanities and Sciences Depart-ment courses not only provide both the necessary context and awareness for your practice, but they also allow us to offer you the full degree requirements within our curriculum.

Bachelor of Fine Arts

Advertising Film

Fine Art Graphic Design

Illustration Photography and Imaging

Bachelor of Science

Entertainment DesignEnvironmental Design

Interaction Design Product Design

Transportation Design

Thro

ugh

mak

ing,

Art

Cen

ter s

tude

nts

lear

n to

se

e w

ith

thei

r han

ds a

nd t

hink

wit

h th

eir e

yes.


9

Graduate studies

Art Center offers seven graduate degrees, including one dual degree. Our programs represent an exceptional opportunity to challenge the conventional and establish a unique personal trajectory—whether you seek to create an enterprise, change the way things are done, or meaning-fully contribute to artistic and intellectual discourse.

But the degrees themselves tell only one part of the story. Along with a profession-ally distinguished faculty, small class size, and an innovative curriculum that sets the standard in the field, Art Center’s rigorous and creatively charged atmosphere pro-vides ideal conditions for advanced study and practice.

Master of Fine Arts

Art Film

Media Design Practices

Master of Science

Environmental DesignIndustrial Design

Transportation Systems and Design

Dual Degree

Innovation Systems Design (MS/MBA)

Med

ia D

esig

n Pr

acti

ces

alum

nus

Jere

my

Eich

enba

um’s

(M

FA 13

) th

esis

pro

ject

HEL

L0 P

R0M

PTER

S ex

plor

es th

e

ambi

guit

ies

of m

edia

ted

inte

ract

ions

.

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

10

At H

illsi

de C

ampu

s, S

outh

Pas

aden

a-ba

sed

Pete

r Tol

kin

Arch

itect

s

crea

ted

the

inst

alla

tion

Tor

us (

abov

e) in

col

labo

rati

on w

ith

the

C

olle

ge’s

Will

iam

son

Gal

lery

. At S

outh

Cam

pus,

food

truc

ks h

elp

ce

lebr

ate

grad

uati

ng s

tude

nts’

fina

l sho

w (

belo

w).


11

The College occupies two campuses: Hillside Campus, a modernist steel-and-glass structure straddling the San Rafael Hills of Pasadena, just above the Rose Bowl; and South Campus, a former supersonic wind tunnel and a new facility for Fine Art and Illustration, situated along Pasadena’s downtown “Innovation Corridor.”

Whether it’s seeing their work on the walls, interacting in social

clubs or simply the camaraderie formed through shared experi-

ences, my peers at Art Center are a source of inspiration.

TERRY CARR — PRODUCT DESIGN STUDENT

Step onto either campus and immediately you’ll feel the creative energy. You’ll see students sketching at tables, brainstorming in the cafeteria, hurrying through the

halls, making last-minute changes to their presentations, and erecting outdoor installations. They’re using the full array of facilities and resources we make available to them: exhibition spaces; art and print-making studios; the Color, Materials and Trends Exploration Lab (CMTEL); 3D proto-typing and fabrication shops; photo and film stages; and a comprehensive art and design library.

To see a sample of what they’re creating, walk through the Student Gallery at Hillside Campus. There you’ll find on display profes-sional-quality work created by undergrad-uate students in their final term—whimsical illustrations, emotionally charged films, thought-provoking artwork, impeccably rendered models, mind-bending interac-tive experiences, and elegant solutions to complex problems.

Campus lifeN

early

50

indi

vidu

al s

tudi

os a

re a

vaila

ble

to u

pper

-ter

m s

tude

nts

in

the

Col

lege

’s ne

w F

ine

Art a

nd Il

lust

rati

on fa

cilit

y.

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

12


Art Center’s Film students have access to the latest production and post-production tools and facilities.

13

Whe

ther

mas

terin

g lif

e dr

awin

g (b

elow

) or

exp

lorin

g sp

ace,

m

otio

n an

d in

tera

ctio

n (M

icha

el N

oh’s

SYN

C C

loud

, abo

ve),

vi

sual

sto

ryte

lling

is c

entr

al to

an

Art C

ente

r edu

cati

on.

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

14


Works in the Student Gallery were first conceived in our classrooms—studios and workshops whose class sizes are kept small to enable students to develop meaningful relationships with their fellow classmates—and guided by our faculty of more than 400 working professionals—filmmakers, photo-graphers, fine artists, illustrators and designers of every discipline who share their independent perspectives and firsthand knowledge of today’s creative workplaces.

The value of these relationships cannot be overemphasized. Through real-world associations, internships and mentoring,

our students also develop connections that help build bridges to professional success (see p. 18).

From the moment you arrive—and even before—the Center for the Student Experi-ence (CSE) provides programs and services to help you get the most out of Art Center, both inside and outside of the classroom. We offer programs designed to enhance your physical and emotional well-being, build a sense of community and create opportunities for fun. And we tailor it all to your needs, whether you’re an internation-al student or a Southern California native.

Art Center’s Hillside Campus straddles the San Rafael Hills of Pasadena, just above the Rose Bowl.

15

Through your classroom experience, student clubs, campus activities and special events, you will make friends that last a lifetime.

And at every stage along the way—from orientation to graduation—Art Center will also help prepare you for whatever future path you choose to pursue.

Through the Office of Career Develop-ment, we offer resources and services to help facilitate connections with outside professionals, including developing intern-ships and hosting on-campus recruitment events (see p. 24).

At no other time is this more evident than at Grad Show. This end-of-term celebra-

tion of the work that graduating students have created transforms our campuses’ hallways and classrooms into a color-ful, living, breathing portfolio for invited guests from studios, galleries, design firms and other companies looking for fresh thinking and raw talent.

And once you’ve graduated, the Office of Alumni Relations will keep you connected with the College and your fellow graduates (see p. 27).

No matter where your career takes you, Art Center goes with you.

Each term, hundreds of invited guests, industry professionals and company recruiters attend the high-energy Grad Show Preview, which features the work of Art Center’s graduating students, such as Shana Torok (BFA 13).

Designing your future

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

16

Step off campus and you’ll find yourself in one of the most creative environments in the world—virtually anything is possible in the Greater Los Angeles region. Beyond offering unparalleled opportunities in the fields of film and entertainment, the region is a hub of innovation in advertising, art, automotive design, communication and digital media, technology, education, societal trends and more. As a gateway to the Pacific Rim, Los Angeles reflects a unique worldview, and the influences born here are felt around the globe.

Hiking Griffith Park, going to exhibitions and concerts,

learning to surf in Santa Monica, road trips to the mountains.

There just aren’t enough hours to take it all in!

JOHN RYAN — MEDIA DESIGN PRACTICES ALUMNUS

The Griffith Observatory and the Los Angeles County Museum of Art are among the countless popular cultural destinations in the Greater Los Angeles region.

Greater Los Angeles


17

Our hometown of Pasadena is a diverse and sophisticated city in its own right. Located just 10 miles from downtown Los Angeles, Pasadena features a rich archi-tectural and design history, including work by Frank Lloyd Wright and Charles and Henry Greene; hosts an impressive collec-tion of cultural institutions, including the Norton Simon Museum and the Pacific Asia Museum; and has long been a center for scientific and aerospace innovation, being home to both California Institute of Technology and NASA’s Jet Propulsion Laboratory.

L.A. is a city of dreamers and stars in the making.

I especially love its street art. I also love exploring

Pasadena and all its history and architecture.

ZORINE POOLADIAN — ENVIRONMENTAL DESIGN ALUMNA

The Gamble House by Charles and Henry Greene, the Pasadena Museum of California Art and the Colorado Street Bridge are all mere minutes away from Art Center in Pasadena.

Creativity is in

demand

2.

Art Center builds you up so when you go out into the real world you’re standing tall. Not a lot of schools

emphasize professionalism the way Art Center does.ELIZABETH LEVIN — ADVERTISING STUDENT

19

Are you going to college to develop your creative self? Or to find a career? At Art Center, you can do both.

Each year we survey our alumni on the progress of their careers one and five years out of school. Typically, nearly half our alumni respond, and of those, 92% in our most recent survey indicated they were employed in their field after one year out.

There is a tangible reason for this success: our long history of close corporate partner-ships. Beginning with the General Electric Space Capsule project in 1960, hundreds of industry-funded collaborations—from con-sumer electronics to fitness apparel—have taken place in our classroom studios.

Indeed, such collaborations are woven into the very fabric of our students’ experience.

One major differentiator of our education-al model is our emphasis of the practical and on real-world application. In other words, here at Art Center, we like to get things done.

We want you to think big, but we also encourage you to ground your work in reality. Our classes and projects match the pace and demands of a professional work environment, so that you can realistically pursue your career upon graduating.

Chr

is H

acke

r, th

en-c

hief

des

ign

offic

er fo

r Joh

nson

& J

ohns

on, c

ritiq

ues

stud

ent w

ork

in a

cla

ss s

pons

ored

by

the

heal

th a

nd w

elln

ess

com

pany

.

Professional and career development

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

20

Professional and Career Development

21

This is one reason we encourage our stu-dents to participate in Sponsored Projects, our classroom studios that embrace col-laboration across disciplines and put our learn-by-doing methodology into action.

In these projects—which can take the form of a full 14-week course, a week-long DesignFlash or an intensive three-day DesignStorm®—small groups of students are presented with a project brief by an industry partner that poses a specific art or design challenge. Through the course of the project, students immerse themselves in an experience that mirrors professional practice, including presenting their solu-tions to a panel of the company’s leaders.

These projects—often proposed and shep-herded by Art Center alumni, among the most respected creative leaders in their fields, and coordinated by our Educational Partnerships office—vary from the highly speculative to the easily implementable. For example: motorcycle-maker Piaggio recently asked our students to imagine what mobility might look like in the com-ing decade; Nike tapped our students’ ingenuity to forecast the future of wear-able technology for athletes; and Microsoft challenged our students to propose wildly playful uses for its Surface tablet.

Our partners benefit from this educa-tional model—they get access to the fresh, bold thinking of our talented artists and designers—and you benefit, not only from the experience you gain, but also because you own your own work and the intellec-tual property you create.

Art Center is known for making, and it’s where I learned to take my ideas beyond the drafting

table or the gallery and into the marketplace.

KISUN KIM — GRADUATE INDUSTRIAL DESIGN ALUMNA

And our connections to industry don’t end in the classroom. Each term, we invite companies from around the world to meet our graduating students. Recent partici-pants include technology leaders Apple, Facebook and Google; entertainment innovators Dreamworks Animation, The Hettema Group and Walt Disney Imagi-neering; major league automotive players like Honda R&D Americas, Tesla Motors and BMW Designworks; and influential design firms including IDEO, Karten Design and Rios Clemente Hale. On these recruit-ment days, prospective employers review student portfolios to discuss current or future job openings.

While a student in Environmental Design, Catherine Menard (BS 14) won a national competition to design the Pasadena Armenian Genocide Memorial (above). Exploring the future of prosthetics, Product Design students collaborated with Para-lympic athlete Blake Leeper during a three-day DesignStorm® with Eastman Innovation Lab (below).

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

22


Today’s interconnected cultures and markets increasingly require artists and designers from discrete disciplines to work together. Our Transdisciplinary Studio (TDS) courses address this shift by giving upper-term students and faculty from dif-ferent majors opportunities to collaborate on projects.

A TDS might bring Film, Illustration and Product Design students together to investigate varying representations of the natural environment, while another might challenge Advertising, Graphic Design and Environmental Design students to create a multimedia branding and communica-tions strategy. Often, these studios are

sponsored by industry partners—from major automakers like Toyota and General Motors to international nonprofits like Doctors Without Borders and the World Health Organization. In some TDS courses, a Humanities and Sciences course is added to bring necessary context and research into the studio.

Whatever the project, our cross-disciplin-ary approach spurs new ways of thinking.

And as an Art Center student, you can address design challenges and explore ar-tistic opportunities no matter where they occur by participating in a Study Away program.

Collaborating across disciplines and

borders

23

The course London: Ancient/Modern offers students an historic and creative journey through the British capital (facing page). Testlab: Berlin students take a day trip to the Bahaus design school in Dessau, Germany (above).

Art Center showed me how to turn a passion into a career.

The people I came into contact with have proven to be

an irreplaceable resource. SPENCER LOWELL

— PHOTOGRAPHY AND IMAGING ALUMNUS

Our international student body and our location in the greater L.A. region already place us at a crossroads of cultures, but our perspective is truly global in both practice as well as mindset. This is evident in our numerous relationships with uni-versities, organizations and governments abroad. Recently our students have spent time in: Japan, to design contemporary

lighting fixtures informed by traditional Japanese arts and crafts; London, to create a series of prints for Kemistry Gallery’s Gold, Silver & Bronze Olympics-themed exhibition; and Germany, to brainstorm ways in which the Johnson & Johnson skincare company Piz Buin could rebrand itself for Generation Y. Other recent study away programs have taken our students to Colombia, France, Mexico, Singapore and Uganda.

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

24


In a highly competitive job market, plotting a career path is more critical than ever. Which is why Art Center offers a variety of resources and services to help you achieve your goals.

When I was applying for internships, I was blown away by Art Center’s network and

the number of doors that were already opened to me as a

student here. OLIVER LO

— GRAPHIC DESIGN STUDENT

It’s also the reason we go to great lengths to develop internships of interest and value to our students. We make sure you are paid as an intern and that you receive practical hands-on experience under the direction of practicing artists and designers. In many cases, you may also earn school credit.

A small sampling of the organizations across the globe where our students have recently landed internships includes IDEO in San Francisco, The Director’s Bureau in Los Angeles, Chrysler’s Street and Racing Technology division in Michigan, the Mu-seum of Modern Art in New York, Renault in France, Google in Switzerland, and Suzuki Motor Corporation in Japan.

Our mentoring program, The Dot Exchange, connects upper-term students, alumni and peers to help build professional networks. You and your alumni mentor are teamed up one-on-one, giving you direct exposure to the perspective and insights of someone in the professional world. The program also gives you the opportunity to develop your

professional skills through workshops and presentations.

Our ongoing series “Career Chats: Insights into Creative Professions” provides an exclusive opportunity to meet industry leaders in a variety of fields. Recent guests to this series include executives from Crispin Porter + Bogusky, The Coca Cola Company, Frog Design and Sony Pictures Imageworks. These presentations help you identify potential job markets, gain insight into specific fields and receive invaluable career advice.

Photography and Imaging major Rhombie Sandoval (MFA 14), left, presents her portfolio to one of many visiting professionals during the College’s Grad Show Preview.

Internships, mentorships and networking

25

With deep connections to their respective fields, Art Center’s faculty of working professionals anticipates trends in the creative and business environments, con-tributing to an entrepreneurial spirit on campus.

This spirit is matched by several programs that help students find fulfilling employ-ment, get their work out into the larger world or create a new venture of their own.

Students and alumni have exclusive access to Dot Connect, the College’s online plat-form that puts you in direct contact with prospective employers and opportunities. Sponsored by the Office of Career and Professional Development, the service both hosts your resume and portfolio and wel-comes postings for full-time and freelance positions, internships, residencies, calls for entry and more. Students and alumni also have exclusive access to post their portfolios to Art Center’s network on Behance, the leading platform for creative professionals to showcase and discover creative work.

We host workshops that provide advice on resume and cover letter preparation, inter-viewing techniques, networking, “hidden

job markets,” negotiating salaries, port-folio presentation, pricing your work, and professional protocol and etiquette.

DOT Launch, the College’s entrepreneurial focus, provides enterprising Art Center designers with the knowledge, experience and resources to develop entrepreneurial ventures through events, workshops and gatherings.

The Design Accelerator—an incubator that aims to help startups grow by merging great design, cutting-edge technology and business strategy—is a recent joint initiative between Art Center and the California Institute of Technology (Caltech) that creates opportunities for alumni of both institutions. A 12-week immersive program with the goal of turning creative ideas into viable, funded companies, The Design Accelerator provides selected startup teams with seed capital and professional men-tors drawn from both schools’ faculty and the local business community. These fledgling companies are then housed in the Pasadena-based incubator Idealab—whose CEO Bill Gross sits on the boards of both schools—a stimulating space for their concepts to become viable businesses.

Stud

ents

vis

it M

edia

Des

ign

Prac

tice

s al

umnu

s M

atth

ew

Man

os (

MFA

12)

at v

eryn

ice,

a d

esig

n st

udio

he

foun

ded

that

de

dica

tes

half

its

effo

rts

to p

ro b

ono

wor

k fo

r non

prof

its.

Creating your career

A student talks with Graduate Industrial Design alumnus Kevin Bethune (MS 12), left, principal at BCG Digital Ventures, a strategic innovation firm serving Fortune 500 companies.


27

The energy generated in our classrooms and studios springs from pairing a knowl-edgeable faculty of practicing artists and designers with groups of students who are ambitious, both visually and intellectually. Art Center students often emerge from this collaborative learning environment with lasting bonds and a lifelong network.

The faculty and resources are one of the greatest benefits

of attending Art Center. I know there are people I can go to if I need any type of design, career or personal advice.

KARINE GRIGORIAN — ADVERTISING ALUMNA

When you graduate, your former class-mates become your colleagues. You join a group of alumni who are creating the future in everything from transportation to wearable technology; pioneering new products, environments and interactions; and reinventing forms of art and commu-nication, from photography and cinema to graphics and illustration.

Art Center’s alumni network—a creative, connected community of approximately 18,000 individuals spread across the globe—serves as a resource for students. Many alumni share their expertise with each new class of students as teachers and mentors and through introductions to others in their field that lead to unique in-ternships, career opportunities and future professional partnerships.

Our Office of Alumni Relations will as-sist you with a variety of opportunities to foster relationships among you and your fellow graduates. Worldwide networking events, industry-specific panels, workshops and symposiums facilitate the connections and creative growth of a community that continues to be at the center of art and design. As an Art Center graduate, you have both the resources of the College and a global alumni network ready to assist you, no matter where life takes you.

You arrive here with a commitment to your creative education. How you fulfill that commitment will influence the rest of your life—and the lives of others.

Lifelong connections

Create change

3.

Once you understand that you can make a difference through your work, the challenge to have a

positive impact in the world is too strong to ignore.MARIA MOON — MEDIA DESIGN PRACTICES ALUMNA

29

No one exists in a vacuum, least of all those of us who create products, com-munications, environments, services and systems that directly influence the way we live. At Art Center, we believe the privilege of practicing art and design for a living comes with the obligation of doing so responsibly.

We are proud to be a pioneer in developing curricular initiatives that emphasize the role and responsibility of designers and artists in assessing the social impact of their practice. We’ve woven the values that underpin this approach—including

environmental responsibility, social justice and community service—into the classroom experience.

You will be encouraged to engage in these issues in a manner that is in harmony with humanity and the Earth.

Nearly 15 years ago Art Center launched Designmatters, a trailblazing initiative that recognizes the power of design to change the world.

Undergraduate Film students Benjamin Weiss and Matthew Plaxo (above), through a Designmatters partnership with the nationally recognized gang intervention program Homeboy Industries, made the powerful short film Stand With Us.

Social impact

Social ImpactAR

TCEN

TER.

EDU

“Designmatters is about putting knowledge into action,” says Art Center Vice President Mariana Amatullo, co-founder and head of the Designmatters Department. “It’s about fostering future creative leaders with the commitment, aspiration and know-how to be catalysts for social change and innovation.” Designmatters pursues strategic partner-ships, collaborations and sponsored proj-ects that position designers and artists as catalysts of social change.

Whether they’re creating educational campaigns to end gun violence in our local communities, raising awareness about the human rights of young girls around the

world, or implementing innovative design solutions for safe water access for slum dwellers in Chile, Peru and Colombia—our students are combining their remarkable talents with their strong desire to make a positive impact.

In recognition of Designmatters’ extraor-dinary service to society, Art Center was awarded status as a Nongovernmental Organization (NGO) by the United Nations —the first art and design school to receive this designation.

With the goal of raising public awareness about ocean exploration, a trandisciplinary group of students including Varuni Edussuriya (above) worked with the Aquarium of the Pacific to develop a movement they named “Open Ocean.”

Knowledge into action

31In 2010, we sharpened our curricular focus on design for social impact by introducing the Designmatters Concentration, which allows you—regardless of your major—to couple your desire for creative excellence with your passion for making a difference.

Safe Agua Peru completely changed the trajectory of my

educational career. The experience galvanized me into becoming the type of designer who sees the importance and value of social impact design.ALEX CABUNOC — PRODUCT DESIGN ALUMNUS

(DESIGNMATTERS CONCENTRATION)

With our new Artmatters Concentration, you can engage in a course of study that reconsiders the purpose of both fine art and applied arts beyond aesthetics and commerce. As a student, you may elect this course of study—again, regardless of your major—to explore the role of art and its ability to confront a range of social issues.

And our Media Design Practices (MDP) graduate program partners with Design-matters to tackle complex projects in which social issues, media infrastructure and communication technology intersect. MDP/Field track students do international field work in partnership with organiza-tions in the Global South. For example, students recently developed projects in collaboration with UNICEF’s Innovation Lab in Kampala, Uganda.

With a growing array of Designmatters projects realized, underway and in the planning stages—both around the corner and around the world—we’ve proven that our methodologies have real impact. Today, we are also leading the way in establishing social innovation design as a critical discipline unto itself.

A curriculum for change

While an Illustration student, Ariel Lee (above) created the award-winning children’s book Mark and the Jellybean Monster as part of Uncool: The Anti-Gun Violence Project, a Designmatters initiative with outreach through public schools and libraries.

Social ImpactAR

TCEN

TER.

EDU

ART

CENT

ER C

OLLE

GE O

F DE

SIGN

201

5–20

16

32

Working in close collaboration with some of Colombia’s poorest families, students designed new tools, products, systems and methods of storing, utilizing, transporting and conserving water in order to help break the cycle of poverty. Safe Agua Colombia followed on similar projects in Chile and Peru.

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

34

Social Impact

Design has huge power and potential to drive conversations

around issues much broader than simply aesthetics

or commerce.JOHN RYAN

— MEDIA DESIGN PRACTICES ALUMNUS

Many of our students participating in social impact design projects discover a path they feel compelled to pursue long after their education is complete. The growing number of these students led Art Center, after 15 years at the forefront of educating

social impact designers, to develop clear pathways for those interested in careers in this important area of art and design.

In 2013, Art Center hosted a first-of-its- kind, three-day gathering of artists, designers, thought leaders, educators, practitioners and end-users representing business, nonprofit, educational and social organizations to explore multiple aspects of this growing field. “LEAP: The New Professional Frontier in Design for School Innovation,” a symposium conceived by Designmatters, invited participants to

Can design propel social change? Art Center is part of a growing community actively committed to strengthening the ways that it can and does.

An expanding world of opportunities

35

brainstorm around a variety of challenges, including how to create career pathways for individuals entering the social impact space.

With a plentiful and diverse body of re-sponses, concepts and commitments from attendees, the event demonstrated the vitality of this burgeoning sector.

As design visionary William Drenttel (1953–2013) said at the symposium in one of his final public appearances, “Thousands of students across the country, in high school

and college and graduate school, are joining what is a movement to participate in and impact the world around us.”

Art Center is dedicated to seeing this movement grow and its practitioners flourish. Among many other positive outcomes, the event generated significant new mentorship and internship programs for Art Center students, and broadly raised awareness of the growth and significance of this important new frontier in design, and design education.

The LEAP Symposium at Art Center brought together leaders from global NGOs, design firms and academic institutions to explore the future of social innovation design careers.

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

36As design’s scope expands to address social and cultural needs, economic growth and development and, importantly, environ-mental impact, we believe the time-honored formula of “good design equals form plus function” is no longer enough. Here at Art Center, we consider sustainability an essential third pillar of successful design. We embrace a philosophy of Comprehensive Design—the sum total of form, function and sustainability.

Sustainability is not something we tack on to our projects as an addendum. From the very beginning of your studies, we’ll ask you to incorporate lifecycle analysis, which examines components and measures con-sequences in the development of our prod-ucts and systems, in order to contemplate the immediate and long-term impact of your work.

Why? As Heidrun Mumper-Drumm, Art Center’s director of sustainability initiatives, puts it: “Sustainability encompasses everything. It’s the biggest idea I know.”

And she’s not alone. Increasingly, businesses large and small are placing a premium on corporate citizenship and generating mar-ket leadership through a holistic approach to their enterprises. By studying at Art Center, you can develop a rich understand-ing of how business and society can apply and benefit from design that supports the Earth.

When you’re a designer who wants to engage in social impact,

you don’t always know where the path goes or where it ends,

but you know why you do it. MARIANA PRIETO — PRODUCT DESIGN ALUMNA

(DESIGNMATTERS CONCENTRATION)

The linchpin of our graduates’ success has long been an excellence in making. Add to this a critical knowledge of sustainabil-ity and design for social impact, and our students are poised to make a positive and critical difference in the world.

In A

rt C

ente

r’s C

olor

, Mat

eria

ls a

nd T

rend

s Ex

plor

atio

n La

bora

tory

(C

MTE

L), s

tude

nts

lear

n th

e la

test

sus

tain

able

des

ign

appr

oach

es.

Design for sustainability

Under-graduate studies

Under-graduate studies

ARTC

ENTE

R.ED

U

In In

tegr

ated

Stu

dies

cou

rses

, stu

dent

s fr

om a

cros

s m

ajor

s

lear

n ba

sic

visu

al v

ocab

ular

y, c

raft

sman

ship

and

tech

nica

l ski

lls.

39

Provost

FredFehlauWhy Art Center?

This is a question I asked myself before entering the College as an undergraduate student in the late 1970s. The reasons I chose this institution all those years ago are the same reasons I cherish it today: at Art Center, we’re different.

We learn with our hands. We learn by making. Our creative process is iterative. It involves trial and error. The problems we solve are complex, and the solutions we reach are not predictable.

We understand the world is a designed place, and that good art and design go beyond aesthetics. Whether working on a studio assignment, responding to a brief in a corporate spon-sored project, or partnering with a nonprofit organization through our social impact programs, the work you do here will extend far beyond the classroom.

You don’t need to be a person with a physical disability to design prosthetics for paraplegic athletes, a resident of an impoverished neighborhood in Colombia to design safe water systems, or 10 years old to design toys. What you do need is the capacity to view the world from somebody else’s perspec-tive. Creative empathy is necessary to provide experiences for a diverse set of users. It’s at the core of what we practice at Art Center and it’s reflected in our commitment to a full diversity of culture, community and curriculum.

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

40

At Art Center, we ask you to choose your major before you apply, and to submit a portfolio of work in your chosen field. This way, we know you are ready to succeed.

But if you think choosing a major beforehand means you’ll be isolated from other disciplines, think again. Starting from day one, you’ll work consistently with students from other depart- ments. Our Integrated Studies Department offers foundation courses for first-year students as well as classes designed to bring interdisciplinary experiences to students at all levels. Our Transdisciplinary Studios—courses designed to provide you with real-world collaborative experiences—will ask you to solve problems one discipline cannot address alone. This means the portfolio you’ll create at Art Center will reflect not only your own work, but also how well you work with others.

Undergraduate studies

Students frequently transform Art Center’s campuses, both inside and out, into thought-provoking installations.

Art C

ente

r stu

dent

s un

ders

tand

that

the

wor

ld is

a d

esig

ned

plac

e.

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

42

43


ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

44

At Art Center, we believe making is a form of knowledge production, and whether you choose to study art, design or something in between, you’ll become part of the history of making.

Our Humanities and Sciences Department provides courses in subjects such as art history and critical theory, business and professional practice, and the social and physical sciences. Subjects that fulfill your degree’s general studies requirements are increasingly embedded in our studios. Ethnographic research, for example, is co-taught in product design and transportation design courses by faculty from the Humanities and Sciences Department, allowing you to earn studio and academic credit simultaneously.

At Art Center, we’re different. We work hard. We work smart. We work to make the lives of others richer and more joyful. Our faculty and staff, along with our vast alumni network, are equally driven to give you the opportunity to do the same.

This is a place to make a commitment to both your practice and your life. At Art Center, I discovered and made these commitments. Now it’s your turn.


Fred FehlauAlumnus, Teacher, Provost

ART CENTER’S ADVERTISING CLASSROOMS ARE DESIGNED TO OPERATE LIKE A WORKING AGENCY.

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

46

47

NOTABLE ALUMNI TRACY WONG 84 / PAM FUJIMOTO 98 / DENNIS LEE 00 / JAYME ODGERS 62 / MARIO DONNA 52

ADVE

RTIS

ING

Chairartcenter.edu/advertising

Gary GoldsmithAdvertising

The advertising industry is changing rapidly. As the new media landscape continues to transform the way advertising looks, feels and interacts with the viewer, the fundamental need remains: brands must make a powerful connection with their audiences. At Art Center, you will create those connections by becoming well versed in traditional forms of advertising while being prepared to master new technologies and emerging ad platforms. Beginning classes leave you fluent in the languages of advertising, includ-ing film, video, photography, graphic and interaction design, social media and digital engagement. In later terms, you collaborate with students from other majors in Transdisciplinary Studio courses and use creative problem-solving skills to develop powerful campaigns integrating traditional and new media. We also break the conventional classroom structure to operate like a true agency. Weeklong intensives, brainstorming sessions, peer critiques and off-campus excursions develop your skills as a “visual writer” and “verbal art director”—earmarks of an Art Center education. Our Advertising program, launched with Art Center’s founding in 1930, is the oldest in the country, and our list of alumni reads like a Who’s Who of the industry. Today, our faculty of leading art directors and copywriters brings into the classroom a fresh perspective on advertising’s evolving landscape, helping you graduate with the skills and insight to become a leader in shaping its future.

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

48

SEAN OHLENKAMP 03 / BEVERLY DOOLITTLE 68 / ARTHUR TAN 88 / JOHN ARMISTEAD 72 / GEORGE RODRIGUE 66 / PAUL HAUGE 59 GEORGE RAPPAPORT 47 / GERARD HUERTA 74 / BOB MATSUMOTO 63 / ALISON KANDLER 86 / TEDDY LO 01 / LINDA HINRICHS 64

Scott Struhs

STANLEY, TERM 4 CRASHVERTISING / GARY GOLDSMITH

49

SEAN OHLENKAMP 03 / BEVERLY DOOLITTLE 68 / ARTHUR TAN 88 / JOHN ARMISTEAD 72 / GEORGE RODRIGUE 66 / PAUL HAUGE 59 GEORGE RAPPAPORT 47 / GERARD HUERTA 74 / BOB MATSUMOTO 63 / ALISON KANDLER 86 / TEDDY LO 01 / LINDA HINRICHS 64

ADVE

RTIS

ING

Karine Grigorian

MILK-BONE, TERM 8 PORTFOLIO STUDIO / SAM BERGEN

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

50

JOHN VAN HAMERSVELD 64 / HAL CURTIS 90 / TOMOKO MIHO 56 / LOUIS DANZIGER 48 / JOHNNY TAN 97 / MICHAEL SCHWAB 75 MELVYN SANT 64 / HARVEY MARCO 89 / DOYALD YOUNG 55 / MARCE MAYHEW 50 / ERICH JOINER 90 / MARTA SALAS-PORRAS 81

Kay Kim, Charles Lee and Xinran Li

SAVE THE ARTS; MY 3 CENTS, TERM 5 ONE SHOW COMPETITION INTENSIVE / DENNIS LEE

2014 ONE SHOW BRONZE WINNER

51

JOHN VAN HAMERSVELD 64 / HAL CURTIS 90 / TOMOKO MIHO 56 / LOUIS DANZIGER 48 / JOHNNY TAN 97 / MICHAEL SCHWAB 75 MELVYN SANT 64 / HARVEY MARCO 89 / DOYALD YOUNG 55 / MARCE MAYHEW 50 / ERICH JOINER 90 / MARTA SALAS-PORRAS 81

ADVE

RTIS

ING

Maria Meehan

KINDLE, TERM 8 CRASHVERTISING / GARY GOLDSMITH

Michael Dhalliwal, Rosie Geozalian and

Jeff Rennacker

LACIE, TERM 7 CRASHVERTISING / GARY GOLDSMITH

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

52

PETER COHEN 80 / MIKIO OSAKI 61 / MATT HALIGMAN 81 / TIFFANY KOSEL 02 / HALVERSON FRAZIER 55 / HARRY COCCIOLO 90 LINDON LEADER 78 / DAVE STONE 08 / THOMAS CORDNER 72 / TYLER MAGNUSSON 98 / GARY GOLDSMITH 81 / ROLAND YOUNG 61

53

PETER COHEN 80 / MIKIO OSAKI 61 / MATT HALIGMAN 81 / TIFFANY KOSEL 02 / HALVERSON FRAZIER 55 / HARRY COCCIOLO 90 LINDON LEADER 78 / DAVE STONE 08 / THOMAS CORDNER 72 / TYLER MAGNUSSON 98 / GARY GOLDSMITH 81 / ROLAND YOUNG 61

Yongseong Lee and Esai Ramirez

BBC, TERM 6 CRASHVERTISING / GARY GOLDSMITH

ADVE

RTIS

ING

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

54

Program of Study

Advertising

Term 1History of Advertising 3Writing Studio OR Writing Studio: Intensive 3Communication Design 1 3Digital Basics: Lynda.com 1Typography 2: Structure 3Admersion 0Design 1 3

Term 2Critical Practice 1 3Art of Research 3Art Direction 1 3Basics of Video Production 3Visual Concepts 3Creative Process 3

Term 3Presentation & Career Preparation 3Interactive Design & Development 1 3Advertising Concepts 1 3Communication Design 3: Narrative 3Art Direction 2 3Basics of Photo OR Narrative Imaging 3

Term 44th Term Review 0Intro to Modernism 3Advertising Concepts 2 3Copywriting 1 3Digital Narrative 3Communication Design 4: Transmedia 3

Term 5Branding Strategies 3Typography 3: Context 3Advertising Concepts 3 3Integrated Advertising 3

Term 66th Term Review 0Advertising Lab 1 3Copywriting 2 3

Term 7Advertising Lab 2 3

Term 8Advertising Lab 3 3Portfolio Studio 3

Additional requirementsStudio electives 14Humanities & Sciences electives:Humanities 6Social Sciences 6 Science & Technology 6Business & Professional Practice 3Humanities, Social Sciences, Science & Tech OR Bus & Prof Prac 3Total required units 132

STEFAN BUCHER 96 / RICK BOYKO 73 / MARTY NEUMEIER 68 / MICHAEL PRIEVE 87 / BARBARA MCDOWELL 44 / KIT HINRICHS 63

55

ADVE

RTIS

ING

Sean Ohlenkamp BFA 2003

MAKE HEALTH LAST, A COMMERCIAL FOR THE CANADIAN HEART &

STROKE FOUNDATION OF CANADA

“Art Center taught me how to think differently,” says Sean Ohlenkamp, Digital Creative Director at Leo Burnett in Toronto. Working across multiple platforms— digital, film, photography, print, illustration, design and product design—Ohlenkamp counts among his varied projects a viral stop-motion video for Type Books, now edging toward 4 million YouTube views; a participatory “Living Piano” (with opera singers); eye-opening interactive online ads for the ALS Society of Canada; and arresting print ads for Nissan—all of which have earned critical acclaim for their originality and effectiveness. Traditional media “does not lead the world of advertising anymore in the better agencies,” Ohlenkamp notes. “Idea is king. Invent a product that will change a business. Use technology and digital platforms in unique and innovative ways. You want to have a unique voice, so let all of these brilliant people around you at Art Center help you figure out what that is.” It was the feedback he received as a student, he says, that helped him discover his voice as a creative.

ohkamp.com

Alumni

STEFAN BUCHER 96 / RICK BOYKO 73 / MARTY NEUMEIER 68 / MICHAEL PRIEVE 87 / BARBARA MCDOWELL 44 / KIT HINRICHS 63

ENTERTAINMENT DESIGN STUDENTS AT ART CENTER CREATE CHARACTERS, OBJECTS,

VEHICLES AND ENTIRE WORLDS.

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

56

57

NOTABLE ALUMNI ERIC BARBA 92 / MARK GOERNER 96 / RYAN CHURCH 97 / PERRY MAPLE 13 / MARK CASTANON 11

Chair

Tim Flattery

artcenter.edu/entertainment

Entertainment Design

Entertainment designers are storytellers. They bring stories to life by designing novel objects, characters and worlds. This requires an excellent imagination, a thorough understanding of how such things are built, and the ability to conceptualize within the parameters of a given story. Concept artists create the visuals we see in films, video games, animation, commercials, TV shows and theme parks, executing everything from environments and architecture to characters and vehicles.

Art Center’s Entertainment Design students specifically focus their creativity to master the skills required of concept designers in the enter-tainment industry. Our intensive curriculum blends and expands upon illustration and industrial design. You receive a rigorous education in draw-ing, rendering, model building, sculpting and the use of 3D digital tools. Near the completion of your degree, you research and develop an in-depth senior project emphasizing a personal focus within entertainment.

Each spring, representatives from top companies attend our Entertainment Design Intern Show to meet students and review individual exhibitions of work, with the goal of selecting students to join their team as interns.

An impressive roster of Art Center alumni and entertainment professionals bring their expertise into our classrooms as faculty and visiting lecturers. Graduating from the program with the ability to bring imaginary worlds to life, you join this network ready for a creative future.

ENTE

RTAI

NMEN

T DE

SIGN

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

58

JUSTIN OAKSFORD 12 / JAMES CLYNE 96 / SIMON KO 07 / VELWYN YOSSY 12 / RUSTAM KHASANOV 12 / FARZAD VARAHRAMYAN 95 BRIAN HIGGINS 11 / ANNIS NAEEM / DAN SANTAT 01 / BRANDO LIAO 14 / MARK “CRASH” MCCREERY 89 / SOPHIE MCNALLY 12

Amanda Jolly

THE GREEK PROJECT, TERM 4 VISUAL COMMNUMICATION 4 / FABIAN LACEY

59

JUSTIN OAKSFORD 12 / JAMES CLYNE 96 / SIMON KO 07 / VELWYN YOSSY 12 / RUSTAM KHASANOV 12 / FARZAD VARAHRAMYAN 95 BRIAN HIGGINS 11 / ANNIS NAEEM / DAN SANTAT 01 / BRANDO LIAO 14 / MARK “CRASH” MCCREERY 89 / SOPHIE MCNALLY 12

Matt Tkocz

DUNE BUGGY CONCEPT, TERM 7 VEHICLES AND PROPS / MICHAEL SCHEFFE

ENTE

RTAI

NMEN

T DE

SIGN

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

60

ZACH BERGER 12 / SANDEEP MENON 09 / PATRICK HANENBERGER 03 / NICK PUGH 90 / EDMUND LIANG 13 / NEVILLE PAGE 90 JOHN PARK 02 / JAEKYUNG “JAGUAR” LEE 13 / SCOTT ROBERTSON 90 / SEAN HARGREAVES 89 / RAJ RIHAL 08 / ANGELA LI 12

61

ZACH BERGER 12 / SANDEEP MENON 09 / PATRICK HANENBERGER 03 / NICK PUGH 90 / EDMUND LIANG 13 / NEVILLE PAGE 90 JOHN PARK 02 / JAEKYUNG “JAGUAR” LEE 13 / SCOTT ROBERTSON 90 / SEAN HARGREAVES 89 / RAJ RIHAL 08 / ANGELA LI 12

Joe Park

METROPOLIS, TERM 8 ADVANCED ENTERTAINMENT DESIGN / TIM FLATTERY

ENTE

RTAI

NMEN

T DE

SIGN

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

62

VICTORIA YING 07 / BRANDON GONZALES 11 / LESLIE EKKER 79 / ROBH RUPPEL 87 / RYAN MEINERDING 08 / STEVE JUNG 03 LARRY QUACH 11 / MAURICIO ABRIL 11 / ROY SANTUA 11 / RUBY (YING-FANG) CHEN 11 / HADI JALALI 12 / MATT TKOCZ 12

Peggy Chung

ARIA, TERM 7 ENTERTAINMENT SENIOR PROJECTS / TIM FLATTERY

63

VICTORIA YING 07 / BRANDON GONZALES 11 / LESLIE EKKER 79 / ROBH RUPPEL 87 / RYAN MEINERDING 08 / STEVE JUNG 03 LARRY QUACH 11 / MAURICIO ABRIL 11 / ROY SANTUA 11 / RUBY (YING-FANG) CHEN 11 / HADI JALALI 12 / MATT TKOCZ 12

Clara Moon

QUEEN (THE WINDUP GIRL), FINAL TERM ENTERTAINMENT SENIOR PROJECTS / TIM FLATTERY

ENTE

RTAI

NMEN

T DE

SIGN

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

64

Program of Study

Entertainment Design

Term 1Writing Studio OR Writing Studio: Intensive 3Viscom Fundamentals 1 33D Fundamentals 1 3Design Process 1 3Study Models/ENT 2Way Things Work/ENT 2Design Fundamentals 1 3

Term 2Art of Research 3Design Process 2 3Viscom Fundamentals 2 33D Fundamentals 2 3Digital Design 1 3Design Fundamentals 2 3

Term 33rd Term Review 0Intro to Modernism 3Creative ID Process 3VC3: Photoshop Rendering 3Analytical Figure Drawing 3Advanced Perspective 3

Term 4History of Entertainment Design OR History of Entertainment & Media Design 3VC4: Advanced Material Indication 3Costume Design 3Digital Landscape 33D3 Maquette 3

Term 5Narrative Strategies OR Screenwriting 3Theory of Structure 3Color Theory for Entertainment 3Character Design 1 3Architecture Design 1 3VC5: Figure Rendering 3

Term 66th Term Review 0Human Factors & Design Psychology 3Visual Development 3VC6: Dramatic Narrative 3Architecture Design 2 3Character Design 2 3

Term 7Business 101 3Storyboardng-Keyframe- Concept 3Modo, Speed & Advanced Rendering Techniques 3Vehicles & Props 3Originality in Design 3

Term 8Advanced Entertainment Design 3Entertainment Senior Projects 3

Additional requirementsStudio electives 2Humanities & Sciences electives:Humanities 3Social Sciences 6 Science & Technology 9Business & Professional Practice 6Total required units 144

HAO WU 11 / CRAIG MULLINS 89 / CRAIG SHOJI 06 / TONI SUL 11 / ASSAF HOROWITZ 14 / YURI RANUM 13 / CLARA MOON 11

65

Alumni

Edmund LiangBS 2013

MOONSHINE JELLY FROM THE “SALLY’S AQUARIUM” SERIES BY

EDMUND LIANG.

Self-described “provocateur” Edmund Liang, named one of Complex Art+Design’s “25 People Shaping the Future of Design,” is a multidisciplinary artist specializing in transmedia narratives and immersive, multisensory spatial experiences. Liang’s projects encompass video games, interactive media, film and animation, motion graphics and photography. Among his clients are Psyop, DreamWorks, The Jim Henson Company, Imaginary Forces and Logan. “Entertainment design is more than you think it is,” says Liang. “It is whatever you want it to be. Because in the end, everything is entertainment design.” At Art Center he took advantage of the full gamut of offerings. “I jumped into graphics classes, then motion graphics. I did some product, I did some interactive. And I did fashion photography courses for a year. I kind of looked at Art Center as a wonderful gold mine, offering this wide scope of talent, this powerful facility and faculty for you to immerse yourself in.” His advice to incoming students? “Don’t worry about the rest of the world for the time being. Just let yourself explore. That was my life lesson.”

edmundliang.com

HAO WU 11 / CRAIG MULLINS 89 / CRAIG SHOJI 06 / TONI SUL 11 / ASSAF HOROWITZ 14 / YURI RANUM 13 / CLARA MOON 11

ENTE

RTAI

NMEN

T DE

SIGN

ART CENTER’S ENVIRONMENTAL DESIGN STUDENTS LOOK BEYOND THE SINGLE OBJECT, MOMENT OR PLACE.

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

66

67

NOTABLE ALUMNI TIMOTHY KOBE 82 / CORY GROSSER 01 / CHRIS ADAMICK 07 / CLARENCE MAJOR 95 / ERIC JANY 78

Chair

Environmental Design is a human-centered discipline that focuses on the total spatial experience—from the first moment of encounter to the last moment of interaction.

We approach spatial design from the inside out and learn to look at projects as total sensorial experiences. Our students look beyond the single object, moment or place to see how collectively they make an impact in projects ranging from branded retail, theme-driven dining, new hospitality, exhibition and residential design—delivering effective, inclusive environments using responsible material choices and manufacturing practices. Our emphasis on spatial experiences also makes Art Center graduates leaders in the design of furniture, lighting and interior/exterior living components.

We pursue a global sense of industry-driven design that investigates every aspect of where and how people live, work and play. Our students gain global awareness through Transdisciplinary Studio courses, international study abroad and Sponsored Projects classes with industry-leading com-panies, corporations and organizations. Our students also investigate Designmatters-sponsored projects on behalf of humanitarian organiza-tions globally. All of which amounts to a rich and diverse educational experience for students aspiring to be influential and impactful spatial designers.

artcenter.edu/envl

David MocarskiEnvironmental

Design

ENVI

RONM

ENTA

L DE

SIGN

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

68

INI ARCHIBONG 12 / NOLEN NIU 99 / ZORINE POOLADIAN 12 / DARIO ANTONIONI 97 / DEREK HIBBS 05 / STU FINGERHUT 10 ROXY TOWRY RUSSELL 08 / JOY OU 82 / CHRIS ALVARADO 06 / PHILLIP FREER 89 / STEPHANIE SIGG 98 / SCOTT FRANKLIN 05

Zara Vardanyan

ENVIRONMENTAL TOPIC STUDIO FURNITURE, TERM 6 BERNHARDT DESIGN SPONSORED STUDIO 6 /

DAVID MOCARSKI AND CORY GROSSER

69

INI ARCHIBONG 12 / NOLEN NIU 99 / ZORINE POOLADIAN 12 / DARIO ANTONIONI 97 / DEREK HIBBS 05 / STU FINGERHUT 10 ROXY TOWRY RUSSELL 08 / JOY OU 82 / CHRIS ALVARADO 06 / PHILLIP FREER 89 / STEPHANIE SIGG 98 / SCOTT FRANKLIN 05

Austin Yang

RESTAURANT DESIGN, TERM 5 EXPERIENCE DESIGN 3 / EMIL MERTZEL

ENVI

RONM

ENTA

L DE

SIGN

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

70

AMANDA THEVENOT 07 / LANCE CHARLES 98 / BRANDON KIM 13 / WILHELM OEHL 94 / BRUCE BURDICK 61 / CHIAKI KANDA 01 DONNA PUNG 05 / MIKEY REYES 12 / ANDY KRAMER 73 / MATTHEW MURPHY 93 / ROB BALL 83 / ARIEL FOX 08 / CHASE WILLS 09

71

AMANDA THEVENOT 07 / LANCE CHARLES 98 / BRANDON KIM 13 / WILHELM OEHL 94 / BRUCE BURDICK 61 / CHIAKI KANDA 01 DONNA PUNG 05 / MIKEY REYES 12 / ANDY KRAMER 73 / MATTHEW MURPHY 93 / ROB BALL 83 / ARIEL FOX 08 / CHASE WILLS 09

Huning Haidy Gong

HOSPITALITY DESIGN, TERM 3 ENVIRONMENTAL DESIGN / EMIL MERTZEL

ENVI

RONM

ENTA

L DE

SIGN

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

72

STEPHANIE STALKER 11 / TERENCE SEAN YOO 00 / SAMI HAYEK 96 / JORGE CRUZATA 06 / JOHN NIERO 07 / KEN MATTIUZ 94 GORDON THOMPSON III 85 / ROBBYN CARTER 04 / BRANDON CHEN 07 / SANDOR PRATT 06 / SHAWN LITTRELL 05 / SARA KANG 09

May Maiwen Liu

AHA LIGHTING PENDANT, TERM 7 FUTURE CRAFT TAMA STUDY ABROAD / PENNY HERSCOVITCH AND DAN GOTTIEB

73

STEPHANIE STALKER 11 / TERENCE SEAN YOO 00 / SAMI HAYEK 96 / JORGE CRUZATA 06 / JOHN NIERO 07 / KEN MATTIUZ 94 GORDON THOMPSON III 85 / ROBBYN CARTER 04 / BRANDON CHEN 07 / SANDOR PRATT 06 / SHAWN LITTRELL 05 / SARA KANG 09

You Min Kim

STITCH STACKABLE LOUNGE CHAIR, TERM 7 ATU ECUADOR SPONSORED PROJECT / DAVID MOCARSKI AND BEN LUDDY

ENVI

RONM

ENTA

L DE

SIGN

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

74

Program of Study

Environmental Design

Term 1Writing Studio OR Writing Studio: Intensive 3 Digital Process 1 3Environmental Design 1 3Design Lab 1 3Materials & Making 3Visual Communication 1 3

Term 2Art of Research 3Branding Strategies 3Digital Process 2 3Environmental Design 2 3Design Lab 2 3Visual Communication 2 3

Term 33rd Term Review 0History & Theory of Space 1 3Digital Process 3 3Environmental Design 3 3Design Lab 3 3Color, Material & Concept 3Visual Communication 3 3

Term 4Intro to Modernism 3Illumination: Lighting 3Digital Process 4 3Environmental Design 4 3Structure-Interior Architecture 3Design Lab 4 3

Term 5Theory of Structure 3Sustainable Building Practices for Environmental Design 3Sustainability Studio 3Portfolio Studio 3Topic Studio 3Transdisciplinary Studio 3

Term 66th Term Review 0History & Theory of Space 2 3Topic Studio 3Digital Process 5 3Experience Design 3

Term 7Human Factors & Design Psychology 3Topic Studio 6Degree Project: Development 3

Term 8Portfolio & Presentation 3Degree Project: Studio 3


MINH NGUYEN 12 / MIKE PETERSON 09 / JESSICA PELL 11 / ERIKA KOVESDI 11 / BROOKE WOOSLEY 09

75

Alumni

Chris AdamickBFA 2007

SIGNAL SHELVES, A COLLABORA-TION WITH BRENDAN RAVENHILL,

AND AUDIO STACKING CHAIR

Award-winning designer Chris Adamick, manager in Global Marketing, Store Design at Gap’s New York headquarters, has held positions at other high-profile companies—Pentagram, Rios Clementi Hale Studios, BY Lissoni and Studio Gaia among them. His client list includes Bed Bath & Beyond, W Hotels, Disney and Haworth. Adamick’s varied works include “huge civic spaces and tiny product design,” and he maintains his own studio, Chris Adamick Design, for “tasty” independent projects. Exposure at Art Center to artists, designers, instructors and fellow students from different back-grounds exploring different avenues of study, he says, was inspirational “in terms of growing my mind and appetite for design, art and culture. I got to experience so much.” The importance of professionalism was another crucial takeaway. “Art Center says because you’re often presenting something new to people, it’s incumbent upon you to present that in the most professional way, especially if your ideas are challenging and outside their world view. That was a huge lesson and it couldn’t be more helpful to me now.”

chrisadamick.com

ENVI

RONM

ENTA

L DE

SIGN

MINH NGUYEN 12 / MIKE PETERSON 09 / JESSICA PELL 11 / ERIKA KOVESDI 11 / BROOKE WOOSLEY 09

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

76

ART CENTER FILM STUDENTS BEGIN SHOOTING IMMEDIATELY, USING THE LATEST

PRODUCTION AND POST-PRODUCTION TOOLS.

77

NOTABLE ALUMNI ROGER AVARY 86 / DAN BARTOLUCCI 10 / JOHN SAVEDRA 02 / RAMESH IYER 02 / MICHAEL BAY 88

Chair

Ross LaMannaFilm

The Film program at Art Center prepares you for an evolving industry in which one fact remains constant: filmmakers must be strong visual story-tellers. Here in Los Angeles, the world’s entertainment capital, you begin shooting immediately, with access to the latest production and post-production tools. The curriculum focuses on mastering filmmaking skills in order to serve the narrative. Our faculty of distinguished working filmmakers and small classes foster close, mentoring relationships. In addition, the complex industry tapestry of L.A. gives us access to studio heads and A-list talent who, as guest lecturers, share their intimate knowledge of the business. Success in the entertainment industry requires a broader base of knowledge than ever before. We believe in learning by making. Only when you’re fully immersed in making films do you truly learn your craft. Our production center maintains a generous supply of industry-standard equipment, and our post facilities offer most everything you need to fulfill the technical and creative vision of your story. Our three main tracks of study are in directing, cinematography and edit-ing. Also, for approved students, we offer specialty courses of study with an emphasis in screenwriting and producing. Throughout the program, you discover and refine your artistic style and distinctive voice, and col-laborate with students from other disciplines. You will develop a thorough understanding of the entire filmmaking process. You enter as an apprentice artist and leave ready to reach an audience through your storytelling.

artcenter.edu/film

FILM

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

78

SEAN NALABOFF 12 / MICHAEL KARP 83 / TOM HAMMEL 75 / JOSH SENTER 00 / VALERIE GORDON-JOHNSON 78 / ADAM BERGER 82 ROBERT W. PETERSON 75 / CARLTON CHASE 87 / TARSEM SINGH 90 / JOHN X. CAREY 11 / ZACK SNYDER 89 / RON OSBORN 74

Alex Ramirez

LUX IN TENEBRIS, TERM 1 DIRECTING 1 / BOBBY ROTH

79

SEAN NALABOFF 12 / MICHAEL KARP 83 / TOM HAMMEL 75 / JOSH SENTER 00 / VALERIE GORDON-JOHNSON 78 / ADAM BERGER 82 ROBERT W. PETERSON 75 / CARLTON CHASE 87 / TARSEM SINGH 90 / JOHN X. CAREY 11 / ZACK SNYDER 89 / RON OSBORN 74

Samuel Gonzalez, Jr.

WOODLAND HEIGHTS, TERM 8 FILM WORKSHOP / ERIC SHERMAN

BASED ON THE CLASSIC URBAN LEGEND “THE HOOK.”

FILM

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

80

ROGER TONRY 81 / LESLIE SMITH 84 / THOMAS RUZICKA 76 / ROLF KESTERMANN 80 / SHELLY JOHNSON 80 / ELLEN FREUND 79 DON BURGESS 82 / MONTE BRAMER 84 / DEVIN HAWKER 84 / LARRY FONG 89 / DOUG CLAYBOURNE 75 / MICHAEL SILBERMAN 97

Jimmy Chorng

TODO QUEMABA, TERM 7 NON-FICTION FILM AND VIDEO / RICHARD PEARCE

A FILM INSPIRED BY A HARUKI MURAKAMI SHORT STORY, AND FILMED OVER A MONTH.

81

ROGER TONRY 81 / LESLIE SMITH 84 / THOMAS RUZICKA 76 / ROLF KESTERMANN 80 / SHELLY JOHNSON 80 / ELLEN FREUND 79 DON BURGESS 82 / MONTE BRAMER 84 / DEVIN HAWKER 84 / LARRY FONG 89 / DOUG CLAYBOURNE 75 / MICHAEL SILBERMAN 97

Sam Benenati

LEMON, TERM 8 FILM WORKSHOP / ERIC SHERMAN

A NINE-YEAR-OLD BOY SEES HIS DAD HAVING AN AFFAIR.

FILM

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

82

ADAM MASSEY 95 / ERIK FORSSELL 02 / CHRIS LONGO 95 / DAMON O’STEEN 01 / DOUG WITSKEN 99 / STEPHEN BERKMAN 88 NEIL ABRAMSON 86 / JONAH TORREANO 98 / DIRK HAGEN 89 / GARY MEEK 87 / THOMAS M. HAMMEL 75 / JOHN MURLOWSKI 85

Kimi Juds

DTLA, TERM 4 DIRECTING 3 / DAVID KELLOGG

PROFESSIONAL SKATEBOARDER JOSIAH GATLYN SKATES THROUGH AN ABSTRACTED LOS ANGELES.

83

ADAM MASSEY 95 / ERIK FORSSELL 02 / CHRIS LONGO 95 / DAMON O’STEEN 01 / DOUG WITSKEN 99 / STEPHEN BERKMAN 88 NEIL ABRAMSON 86 / JONAH TORREANO 98 / DIRK HAGEN 89 / GARY MEEK 87 / THOMAS M. HAMMEL 75 / JOHN MURLOWSKI 85

Montana Mann

“OBSESSION,” TERM 7 PSA AND COMMERCIAL WORKSHOP / JONAS MAYABB AND ANDREW HARLOW

COMMERCIAL FOR OBESSION BY CALVIN KLEIN.

FILM

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

84

Program of Study

Film

Directing track

Term 1Writing Studio OR Writing Studio: Intensive 3CPR & 1st Aid Cert Workshop 0Intro to Post Production 3Cinematography 1 3Directing 1 3Design 1 3Basics of Photo 3

Term 2Intro to Modernism 3Screenwriting 1 3Storyboarding for Directors 3Acting Workshop for Directors 3Cinematography 2 3Editing 1 3

Term 3Critical Practice 1 3Screenwriting 2 3Film Production Sound 3Directing 2 3Directing 2: Tech Training 0Cinematography Tech Training 3Editing 2 3

Term 4History of Cinema 1 OR History of Cinema 2 3Business Affairs for Filmmakers 3Directing 3 3Post Production Sound 3

Term 5Transdisciplinary Studio 3 * The Journey/Advanced Screenwriting

Term 6Studio or H&S electives 0* PSA & Commercial Workshop * Non-fiction Film & Video * Digital Motion Compositing

Term 7Studio or H&S electives 0* Film Workshop



Cinematography track

Term 1Writing Studio OR Writing Studio: Intensive 3CPR & 1st Aid Cert Workshop 0Directing 1 3Cinematography 1 3Intro to Post Production 3Design 1 3Basics of Photo 3

Term 2Intro to Modernism 3Editing 1 3Screenwriting 1 3Storyboarding for Directors 3Acting Workshop for Directors 3Cinematography 2 3

Term 3Critical Practice 1 3Directing 2 3Directing 2: Tech Training 0Film Production Sound 3Cinematography Tech Training 3Aesthetics Cinematography 3

Term 4History of Cinema 1 OR History of Cinema 2 3Business Affairs for Filmmakers 3Directing 3 3Lighting for Cinematography 3

Term 5Transdisciplinary Studio 3* Advanced Cinematography

Term 6Studio or H&S electives 0* 3D Cinematography * PSA & Commercial Workshop




Editing track

Term 1Writing Studio OR Writing Studio: Intensive 3CPR & 1st Aid Cert Workshop 0Directing 1 3Cinematography 1 3Intro to Post Production 3Design 1 3Basics of Photo 3

Term 2Intro to Modernism 3Screenwriting 1 3Storyboarding for Directors 3Acting Workshop for Directors 3Editing 1 3Digital Design 1 3

Term 3Critical Practice 1 3Film Production Sound 3Directing 2 3Directing 2: Tech Training 0Cinematography Tech Training 3Editing 2 3

Term 4History of Cinema 1 OR History of Cinema 2 3Business Affairs for Filmmakers 3Directing 3 3Editing 3 3Post Production Sound 3

Term 5Transdisciplinary Studio 3* Visual Effects Workshop

Term 6Studio or H&S electives 0* Flame Workshop




KEVIN GOETZ 98 / BABAIAN VAHE 86 / MIRANDA LIU 96 / FLORIAN STADLER 01 / BRAD BRIGGS 87 / JERRY MAGAÑA 00

* Suggested studio electives

In the undergraduate Film program, certain required classes must be completed in order for students to be certified to make portfolio-level films. It is strongly recommended that all required studio and academic classes be completed by Term 5. This will enable filmmakers to devote their upper-term efforts to advanced studio and academic electives, to crewing on productions, and to creating their own portfolio films.

85

Alumni

John X. CareyBFA 2011

DOVE “REAL BEAUTY SKETCHES,” BECAME THE MOST-WATCHED INTER-NET COMMERCIAL OF ALL TIME.

The day of his interview for this Viewbook, Clio Award-winning filmmaker John X. Carey learned he was a Directors Guild of America Award nominee for Outstanding Directorial Achievement in Commercials for his Dove “Real Beauty Sketches” com-mercial, in which a forensic artist sketches women as they describe themselves—and then as strangers describe them. Carey’s inspirational, Jane Austen-inspired ad has been translated into 25 languages, took the number one spot in Time magazine’s “Top 10 Commercials of 2013” and was listed by Adweek as one of the “10 Most Watched Ads on YouTube in 2013.” Carey had originally envisioned a commercial career with an emphasis on comic content, yet found his calling at Art Center. He filmed a Designmatters documentary, Voices From the Field, about a nonprofit organization’s HIV prevention programs in Zambia. “That really made me want to do more human-driven emotional content,” he says. Carey’s advice to Art Center students: “It’s just about doing every single opportunity you can. Throw yourself at it as hard as you can, every day.”

johnxcarey.com

FILM

KEVIN GOETZ 98 / BABAIAN VAHE 86 / MIRANDA LIU 96 / FLORIAN STADLER 01 / BRAD BRIGGS 87 / JERRY MAGAÑA 00

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

86

EXPERIMENTATION IS WOVEN INTO THE VERY FABRIC OF ART CENTER’S FINE ART PROGRAM. BELOW:

KRISTY LOVICH (BFA 13) IN UNION STATION.

87

NOTABLE ALUMNI VICTOR ESTRADA 86 / JENNIFER STEINKAMP 89 / MICHAEL HAGUE 72 / RONALD J. LLANOS 03

Chair

Vanalyne GreenFine Art

The continual exercise of imagination and discipline is the basis for a career in art: a life of compelling vision that questions and transforms our way of seeing, thinking and engaging the world. Art Center prepares students by training them in the rigorous foundation skills they need to be highly adaptable visual problem solvers, with particular attention to aesthetics and conceptual dexterity. We foster a healthy fearlessness undeterred by conventional boundaries—experimentation, risk and complexity are embedded into the very fabric of student work. Such versatility and adaptability are paramount in preparing artists to excel in a continually changing global environment.

Two of the biggest questions young artists face are: What is my unique voice? and Where does that voice fit into the world? At Art Center, it is our job to help you discover these answers by engaging in a rigorous process of training, questioning and self-discovery.

Fine Art supports a spectrum of disciplines including drawing, painting, sculpture, installation, film/video, photography and digital imaging, as well as an array of art-and-design hybrids. Our nationally and inter-nationally recognized faculty members work to create a program that is both broad in its scope of interests and small in its well-woven community. Learning occurs in the context of small classes and a high degree of mentoring that allows for a more one-on-one education.

The new Artmatters concentration, which stands as a counterpart to the college’s successful Designmatters program, focuses on the intersection between art and social space.

artcenter.edu/fineart

FINE

ART

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

88

LISA LAPINSKI 99 / EDGAR ARCENEAUX 96 / RAMONE MUNOZ 77 / JORGE PARDO 88 / PEGGE HOPPER 56 / TIFFANY TRENDA 02 LINDSAY DAWSON / EDDY VAJARAKITIPONGSE 02 / LAUREN KING 05 / TAD BECK 02 / ANA SERRANO 08 / JACQUELYN DE LONGE 06

Nathan Kitch

WHO’S AFRAID OF RED, GREEN, BLUE?, TERM 8 SENIOR PROJECTS 2 / JOHN MILLEI AND JEAN RASENBERGER

89

LISA LAPINSKI 99 / EDGAR ARCENEAUX 96 / RAMONE MUNOZ 77 / JORGE PARDO 88 / PEGGE HOPPER 56 / TIFFANY TRENDA 02 LINDSAY DAWSON / EDDY VAJARAKITIPONGSE 02 / LAUREN KING 05 / TAD BECK 02 / ANA SERRANO 08 / JACQUELYN DE LONGE 06

Vanya Horwath

LARGE PAINTING AND UNTITLED, TERM 6 WET PAINT (TRANSDISCIPLINARY STUDIO) /

JOHN MILLEI AND AARON SMITH INAUGURAL WINNER OF THE FRANKLYN LIEGEL AWARD,

GIVEN ANNUALLY TO A FINE ART STUDENT.

FINE

ART

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

90

Brian Tarpey

UNTITLED, TERM 3 STUDIES IN CONTEMPORARY SCULPTURE / KATIE GRINNAN

JEFF SOTO 02 / MICHAEL MOSHE DAHAN 05 / HARRISON MCINTOSH 36 / RICHARD GALLING 06 / EYVIND EARLE / OPHELIA CHONG 89 WILLIAM KAMINSKI 09 / RENEE LOTENERO 02 / ASHLEY LANDRUM 07 / GRANT VETTER 05 / JANICE LOWRY 79 / NERY LEMUS 07

91

Sarah Magladry

DIPLOMATIC DISCOURSE ON A CHANGE MADE BY YOU NOT ME (VIDEO STILLS), TERM 7

SENIOR PROJECTS 1 / JEAN RASENBERGER

FINE

ART

JEFF SOTO 02 / MICHAEL MOSHE DAHAN 05 / HARRISON MCINTOSH 36 / RICHARD GALLING 06 / EYVIND EARLE / OPHELIA CHONG 89 WILLIAM KAMINSKI 09 / RENEE LOTENERO 02 / ASHLEY LANDRUM 07 / GRANT VETTER 05 / JANICE LOWRY 79 / NERY LEMUS 07

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

92

PIERR MORGAN 87 / NANCY POPP 97 / MARK TANSEY 72 / ELLENI SCLAVENITIS 07 / FANDRA CHANG 87 / JAMES HAKSUN KIM 12 PATRICE STELLEST / EVELINA RUETHER 09 / CHRIS FINLEY 93 / NERY LEMUS 07 / KRISTY LOVICH 1 / ZAC KIME MONTANARO 07

Luis Sanchez

ARMREST, TERM 5 5TH TERM REVIEW / KERRY TRIBE

93

PIERR MORGAN 87 / NANCY POPP 97 / MARK TANSEY 72 / ELLENI SCLAVENITIS 07 / FANDRA CHANG 87 / JAMES HAKSUN KIM 12 PATRICE STELLEST / EVELINA RUETHER 09 / CHRIS FINLEY 93 / NERY LEMUS 07 / KRISTY LOVICH 1 / ZAC KIME MONTANARO 07

“Feminism Is For Everybody!” Study Group and Term 7 Students

TALK TO ME, TERM 8 SENIOR PROJECTS 2 / JOHN MILLEI AND JEAN RASENBERGER

SITE-SPECIFIC COLLABORATIVE DIALOGUE IN THE FINE ART GALLERY CENTERED ON FEMINIST PLACE-MAKING

AND SCHOLARSHIP.

FINE

ART

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

94

Program of Study

Fine Art

Fine Art track

Term 1Writing Studio OR Writing Studio: Intensive 3Rethinking Art 1 3Painting Strategies 3One on One 1Design 1 3Materials of Art & Design 3

Term 2Intro to Modernism 3Studies-Contemporary Sculpture 3Drawing as Process 3Art: Structure & Systems 3One on One 1

Term 3History of Art 1 OR History of Art 2 3Studio Practice 3Installation Concepts 3One on One 1

Term 4Critical Practice 1 3Introduction to Video & Film 3Defining Your Work 3Contemporary Issues 3

Term 5Mid-Program Review 3History of Art 3 3Readings in Fine Art 3Studio Visits 1 3Transdisciplinary Studio 3

Term 6Professional Practices for Artists 3Writing About Art 3Dialogues with Visiting Artists OR Visiting Artist Workshop 3Fine Art Seminar 3

Term 7Senior Projects 1 3


Additional requirementsStudio electives 15Humanities & Sciences electives:Humanities 3Social Sciences 9 Science & Technology 9Total required units 120

Art Matters track

Term 1Writing Studio OR Writing Studio: Intensive 3Rethinking Art 1 3Painting Strategies 3One on One 1Design 1 3Materials of Art & Design 3

Term 2History of Art 1 OR History of Art 2 3Studies in Contemporary Sculpture 3Drawing as Process 3Art: Structures & Systems 3One on One 1 Introduction to Film & New Media 3

Term 3Intro to Modernism 3One on One 1Installation Concepts 3Tool Kit: Places/Situations/ Ecologies 3

Term 4Critical Practice 1 3Protests & Utopia: Models of Artistic Agencies 3Tool Kit: Stories/Conversations/ Histories 3

Term 5History of Art 3 3Readings in Fine Art 3 Place, Community & Co- Evolution 3Mid- Program Review 3 Studio Visits 1 3

Term 6Professional Practices for Artists 3Writing About Art 3Dialogues with Visiting Artists OR Visiting Artist Workshop 3Artmatters Culminating Project 1 3Transdisciplinary Studio 3

Term 7Senior Projects 1 3Artmatters Culminating Project 2 3



Painting & Illustration track

Term 1Writing Studio OR Writing Studio: Intensive 3Rethinking Art 1 3Painting Strategies 3One on One 1Drawing Concepts 1 3Design 1 3Materials of Art & Design 3

Term 2Intro to Modernism 3Art: Structure & Systems 3One on One 1Composition & Drawing 3

Term 3History of Art 1 OR History of Art 2 3Studio Practice 3One on One 1Drawing for Illustration OR Anatomical Figure Drawing 3

Term 4Critical Practice 1 3Introduction to Video & Film 3Defining Your Work 3Composition & Painting 3

Term 5Mid-Program Review 3History of Art 3 3Readings in Fine Art 3Studio Visits 1 3Illustrative Storytelling 3

Term 6Professional Practices for Artists 3Writing About Art 3Dialogues with Visiting Artists OR Visiting Artist Workshop 3Transdisciplinary Studio 3




Photography & Experimental Media

trackTerm 1Writing Studio OR Writing Studio: Intensive 3Rethinking Art 1 3One on One 1Design 1 3 Materials of Art & Design 3 Digital Image Production: Sampler 3

Term 2Drawing as Process 3History of Art 1 OR History of Art 2 3 Art: Structure & Systems 3One on One 1Digital Warehouse 3

Term 3Intro to Modernism 3Studio Practice 3One on One 1Intro to Film & New Media 3

Term 4Critical Practice 1 3Culture Online 3Defining Your Work 3Art & Photography 3

Term 5Mid-Program Review 3History of Art 3 3Readings in Fine Art 3Transdisciplinary Studio 3Given Time 3

Term 6Writing About Art 3Studio Visits 3Fine Art Seminar OR Contemporary Issues OR Visiting Artist Workshop 3 New Media Arts 3

Term 7Professional Practices for Artists 3 Senior Projects 1 3


Additional requirementsStudio electives 12 Humanities & Sciences electives:Humanities 3Social Sciences 9 Science & Technology 9Total required units 120

YUNHEE MIN 93 / NINA WAISMAN 04 / JAMES DRAKE 69 / SALLY KIM 12 / MIKELLE LINDSEY LOOFBOURROW 04 / BRIAN CHILD 13

95

Alumni

Evelena Ruether and William Kaminski

BFA 2009

INSTALLATION VIEW OF THE PRIVILEGE SHOW

AT CONTROL ROOM, FEATURING WORK BY MICHAEL PARKER, MATH BASS, SALLY SPITZ,

NICK KRAMER, DEVIN KENNY, JONATHAN FIELDS.

Evelena Ruether was studying commercial photography at Art Center and William Kaminski’s focus was painting when they discovered their individual passions for the creation of and conversation about installation art. “Basically, everything that I was interested in,” says Kaminski, “was allowed in the room.” They recall fellow students being an integral part of that discovery process. “The sense of community that you build at Art Center is really important,” Ruether observes. “Those are the artists that you’ll eventually show with, or be supported by, or work alongside.” In 2010, she and Kaminski—good friends and sometime collaborators—co-founded Control Room. The downtown Los Angeles art space connects them with their Art Center community and facilitates artist projects and group exhibitions in an independent exhibition setting “where artists can feel like they have authority and ownership, and not feel that they are stepping into someone else’s space,” Ruether says. “The motivation,” Kaminski adds, “stemmed basically from how excited we felt about the work of our peers in our Art Center classes.”

control-room.org

FINE

ART

YUNHEE MIN 93 / NINA WAISMAN 04 / JAMES DRAKE 69 / SALLY KIM 12 / MIKELLE LINDSEY LOOFBOURROW 04 / BRIAN CHILD 13

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

96

WELL BEYOND INK ON PAPER, ART CENTER GRAPHIC DESIGN STUDENTS MANIPULATE AND TRANSCEND

MEDIUMS. BELOW: HYSTERIA, AN INSTALLATION BY HEATHER GRATES FOR MEDIATECTURE.

97

NOTABLE ALUMNI DOUGLAS JOSEPH 81 / PAULINA DE LA GARZA 99 / CLEMENT MOK 80 / SEAN STARKWEATHER 06

Chair

GRAP

HIC

DESI

GN

artcenter.edu/gpk

Graphic design has evolved to become much more than ink on paper; it has left the page to conquer space, motion and interaction. To stay ahead of the curve, you’ll need to expand your creative skills in an integrative learning environment that crosses all media. Our Graphic Design curriculum integrates the definitions of designer, artist and entrepreneur. Guided by faculty members who are noted professionals in their areas of expertise, you’ll develop sophisticated typographic and image-making skill-sets working across both emerging and traditional media—everything from letterpress to data visualization and from packaging to spatial experiences—to create emotionally resonant messages.

You’ll learn how to anticipate and react to the technological and social changes affecting how we communicate with one another. You’ll have the opportunity to study abroad and to participate in high-profile collaborative projects with industry partners, nonprofit organizations and students from different majors. And with our innovative transmedia area of concentration—which allows you to manipulate and transcend mediums—you’ll be empowered to create new media categories.

Since we want our students to design experiences that serve a purpose, we’ll encourage you to work outside your comfort zone and to engage with culturally relevant content using every possible tool at your disposal. In the process you’ll discover new things about yourself and the mediums that you’re pushing to their limits.

We’ll challenge you with this ambitious endeavor—one whose potential is being fulfilled by our graduates, who have gone on to work for cutting-edge organizations like Google, Facebook, IDEO and Local Projects.

Nik HafermaasGraphic

Design

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

98

SUSIE KARASIC 82 / RAFAEL ESQUER 96 / KRISTEN DING 94 / THOMAS MUELLER 95 / VINA ROSTOMYAN 13 / REBECA MENDEZ 84 JANA FRIELING 08 / SANDRA HIGASHI 78 / JOSE CABALLER 96 / JOHANA TRAN 10 / CHRIS RIEHL 07 / JOANN BOUTIN SCHLIB 92

Jerod Rivera

MUSEUM OF SCIENCE, BOSTON IDENTITY SYSTEMS / SIMON JOHNSTON

99

SUSIE KARASIC 82 / RAFAEL ESQUER 96 / KRISTEN DING 94 / THOMAS MUELLER 95 / VINA ROSTOMYAN 13 / REBECA MENDEZ 84 JANA FRIELING 08 / SANDRA HIGASHI 78 / JOSE CABALLER 96 / JOHANA TRAN 10 / CHRIS RIEHL 07 / JOANN BOUTIN SCHLIB 92

GRAP

HIC

DESI

GN

Jay Jeong Yong Kim

2014 NANOTECH CONFERENCE IN TOKYO IDENTITY SYSTEMS / SIMON JOHNSTON

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

100

JERI HEIDEN 79 / MARK COLEMAN 80 / STRAHAN MCMULLEN 09 / CHRIS DO 95 / DUSTIN ARNOLD 04 / TAKAAKI MATSUMOTO 80 AMELIA STIER 11 / BRYCE SHAWCROSS 13 / KARIN ONSAGER-BIRCH 91 / VANESSA LAM 11 / OWEN GEE 08 / DAVID TAKEUCHI 88

Paul Choi

SUMMER OLYMPICS: RIO 2016 IDENTITY SYSTEMS / SIMON JOHNSTON

101

JERI HEIDEN 79 / MARK COLEMAN 80 / STRAHAN MCMULLEN 09 / CHRIS DO 95 / DUSTIN ARNOLD 04 / TAKAAKI MATSUMOTO 80 AMELIA STIER 11 / BRYCE SHAWCROSS 13 / KARIN ONSAGER-BIRCH 91 / VANESSA LAM 11 / OWEN GEE 08 / DAVID TAKEUCHI 88

Rakelle Hammoudian

TROJAN REBRAND PACKAGE DESIGN 2 / ANIA BORYSIEWICZ

GRAP

HIC

DESI

GN

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

102

ELY KIM 04 / DAVID GAZ 88 / EARL GEE 83 / MARIAN CHIAO 09 / ALDIS OZOLINS 12 / MARSHAL RAKE 09 / MITCHELL MAUK 79 WADE CONVAY 03 / MATTHEW ENCINA 07 / HANS NEUBERT 92 / SARA MARANDI 95 / EVERETT KATIGBAK 06 / DOUGLAS OLIVER 78

Siyun Oh

FORMLESS STRUCTURE EXHIBITION IDENTITY TYPE 5: TRANSMEDIA / BRAD BARTLETT

103

ELY KIM 04 / DAVID GAZ 88 / EARL GEE 83 / MARIAN CHIAO 09 / ALDIS OZOLINS 12 / MARSHAL RAKE 09 / MITCHELL MAUK 79 WADE CONVAY 03 / MATTHEW ENCINA 07 / HANS NEUBERT 92 / SARA MARANDI 95 / EVERETT KATIGBAK 06 / DOUGLAS OLIVER 78

Katrina Hercules

U-HAUL REBRAND COMMUNICATION DESIGN 4 / SEAN ADAMS

GRAP

HIC

DESI

GN

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

104

Program of Study

Graphic Design

Term 1Critical Practice 1 3Writing Studio OR Writing Studio: Intensive 3Digital Basics: Lynda.com 1Communication Design 1: Primer 3Type 1 3Design 1 3Narrative Sketching 3

Term 2Art of Research 3Typography 2: Structure 3Communication Design 2: Context 3Motion Design 1 3Design 2: Structure & Color 3Narrative Imaging 3

Term 3Intro to Modernism 3Typography 3: Context 3Interactive Design 1 3Communication Design 3: Narrative 3Package 1 3

Term 4Graphic Design History 1 3Interaction Design 2 OR Motion Design 2 3Typography 4: Print 3Communication Design 4: Transmedia 3Package Design 2 3

Term 5Graphic Design History 2 3Identity Systems 3Information Design 3Interactive Design 3: Inform/ Interact; Advanced 3D Motion Graphics OR Package Design 3: Interactive Systems 3Type 5: Transmedia OR Typography 4: Motion 3

Term 6MediaTecture 3Graphic Design Elective 3Transdisciplinary Studio 3

Term 7Business 101 3Advanced Graphic Studio: 7th Term 3Graphic Design Elective 3

Term 8Portfolio & Career Preparation 3Advanced Graphic Studio: 8th Term 3

Additional requirementsStudio electives 2 Humanities & Sciences electives:Humanities 9Social Sciences 3 Science & Technology 6Business & Professional Practice 6Total required units 132

MICHAEL OSBORNE 78 / PAUL HOPPE 13 / VIC ZAUDERER 91 / FUMIHITO SASADA 78 / JOSHUA MOORE 06 / CODY CLARK 99

105

Alumni

Daniel C. YoungBFA 2012

GENERATIVE IDENTITY DESIGN FOR CYARTS EXPERIENCE,

BY DANIEL C. YOUNG

Hired by Google Creative Labs shortly after graduating, Daniel C. Young first came to Art Center after a career as a network engineer—and a sideline as a swing dance instructor. Young’s confidential work for Google is “kind of a subfield within both visual design and interaction design. We design interfaces for a vision of what, for example, Google might do five years from now. It’s somewhere between a real product, real digital product design and science fiction.” What he learned at Art Center, Young said, is that when faced with a design challenge, “basically the way out is the way through. Keep looking at it. Look at it from a different angle and try a whole bunch of different things until you actually understand not just the solution [but] the question that you wanted to ask in the first place.” Art Center, Young said, “has permanently changed the way I think and how I’m able to solve problems.”

danielcyoung.com

GRAP

HIC

DESI

GN

MICHAEL OSBORNE 78 / PAUL HOPPE 13 / VIC ZAUDERER 91 / FUMIHITO SASADA 78 / JOSHUA MOORE 06 / CODY CLARK 99

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

106

ART CENTER ILLUSTRATION STUDENTS TACKLE AN UNPARALLELED SCOPE OF

CREATIVE AND COMMUNICATIONS PROJECTS.

107

NOTABLE ALUMNI SARAH AWAD 07 / AARON SMITH 88 / ERNESTO NEMESIO 00 / NANCY STAHL 71 / MARTHA RICH 00

Chair

Today’s illustrators are image makers and storytellers. Conceptualizers and problem solvers. Provocateurs and culture mavens. Illustration now is moving beyond the literal interpretation. It is creating mood and atmosphere, communicated via accomplished personal technique, for an array of commercial and social impact projects. Illustration connects everything from high fashion and retail environments to animation and computer games; from political, editorial and street art to mainstream publishing. Illustration’s unique ability to define social, political and cultural ideas makes it an ideal solution for an unparalleled scope of creative and communications projects. At Art Center, you certainly master drawing skills. But you also increase your business knowledge and develop your understanding of illustration’s impact on contemporary culture. After a thorough grounding in foundation classes you focus on a curricular track that best suits your talent and career objectives. Illustration Design blends hand and digital practice for licensing, print, publishing and motion. Illustration for Motion is for students interested in storyboarding and motion design. Illustration/Fine Arts takes imagery beyond illustration to the gallery environment. And Entertainment Arts prepares you for a fast-paced career in TV and feature animation. Our new Surface Design program provides opportunities to explore style and aesthetics in the realm of fashion, textile and apparel design.

Additional enrichments within the program include study abroad opportu-nities, Transdisciplinary Studios—in which illustrators work collaboratively with students from other majors—and dynamic guest lecturers. However you tailor your curriculum, you graduate from Art Center with the potential to translate your creative gifts into engaging and meaningful career paths.

artcenter.edu/illustration

Illustration Ann Field

ILLU

STRA

TION

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

108

ESTHER WATSON 95 / JEFFREY SMITH 80 / ALLYN BRUTY 92 / KENDAL CRONKHITE 87 / MIKE SHINODA 98 / OWEN SMITH 88 PHILIP HETTEMA 81 / CALEF BROWN 88 / JOEL NAKAMURA 82 / BETSY EVERITT 86 / TARA MCPHERSON 01 / ERIC NYQUIST 07

Bijou Karman

MARC JACOBS FALL 2012, TERM 6 DRAWING FOR ILLUSTRATION / GAYLE DONOHUE

109

ESTHER WATSON 95 / JEFFREY SMITH 80 / ALLYN BRUTY 92 / KENDAL CRONKHITE 87 / MIKE SHINODA 98 / OWEN SMITH 88 PHILIP HETTEMA 81 / CALEF BROWN 88 / JOEL NAKAMURA 82 / BETSY EVERITT 86 / TARA MCPHERSON 01 / ERIC NYQUIST 07

Nozomi Kanai

SNOW BIRD, TERM 3 DRAWING PROJECTS / JASON HOLLEY

ILLU

STRA

TION

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

110

BART FORBES 63 / PHILIP HAYS 55 / ANDREW HEM 06 / SALOMÓN HUERTA 91 / MARK “CRASH” MCCREERY 89 / MARK TODD 93 ROBERT PEAK 51 / CHRISTIAN CLAYTON 91 / RALPH MCQUARRIE 56 / RICHARD BUNKALL 76 / JAMES DIETZ 69 / MARK RYDEN 87

111

BART FORBES 63 / PHILIP HAYS 55 / ANDREW HEM 06 / SALOMÓN HUERTA 91 / MARK “CRASH” MCCREERY 89 / MARK TODD 93 ROBERT PEAK 51 / CHRISTIAN CLAYTON 91 / RALPH MCQUARRIE 56 / RICHARD BUNKALL 76 / JAMES DIETZ 69 / MARK RYDEN 87

Ellen Surrey

RAY EAMES, TERM 7 LONDON ANCIENT/MODERN / ANN FIELD, CLIVE PIERCY

AND PAUL ROGERS

ILLU

STRA

TION

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

112

DOUGLAS AITKEN 91 / JAMES GURNEY 81 / MARLA FRAZEE 81 / BRUCE HEAVIN 93 / LAURA PHILLIPS 88 / TIM HASKIN 84 BARRON STOREY 61 / ROBERT CLAYTON 88 / DREW STRUZAN 70 / MATT MAHURIN 82 / RACHELL SUMPTER 03 / LISA KIM 94

Alexander Vidal

COLIMA FOLK ART PATTERN, TERM 6 INTRO TO TEXTILE AND SURFACE DESIGN

ANN FIELD AND CHRISTINE NASSER

113

DOUGLAS AITKEN 91 / JAMES GURNEY 81 / MARLA FRAZEE 81 / BRUCE HEAVIN 93 / LAURA PHILLIPS 88 / TIM HASKIN 84 BARRON STOREY 61 / ROBERT CLAYTON 88 / DREW STRUZAN 70 / MATT MAHURIN 82 / RACHELL SUMPTER 03 / LISA KIM 94

Alexander Cho

ASLAN, TERM 7 INVENTIVE CHARACTER / LOU POLICE

ILLU

STRA

TION

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

114

Program of Study

All Tracks Core Program

(excludes Surface track)

Term 1Critical Practice 1 3Writing Studio OR Writing Studio: Intensive 3Illustration Now 0Perspective 3Head & Hands 3Composition & Drawing 3Design 1 3

Entertainment Arts track

Term 2Intro to Modernism 3Viscom Fundamentals 1 3Composition & Painting 3Digital Life 3Design 2: Structure & Color 3Term 3Advanced Critical Practice 3Creative Perspective 3Drawing for Illustration; Analytical Figure Drawing; Inventive Drawing; OR Imaginatomy 3Materials of Art & Design 3Term 4History of Art 1; History of Art 2; History of Art 3; History of Illustration OR Graphic Design History 1 3Sketching for Illustration 3Image & Idea 3Drawing for Illustration; Analytical Figure Drawing; Inventive Drawing; OR Imaginatomy 3Color and Story 3Term 55th Term Review 0Illustrative Storytelling OR Sketching for Entertainment 3Graphic Design for Entertainment Arts 3Digital Landscape 3Visual Development 3Term 6Storyboarding 3Style Development OR Historical Env Matte Painting 3Background Painting/ Animated Film 3Term 7Inventive Character OR Matte Painting 3Term 8Business 101 3Portfolio Design Lab 3Additional requirementsStudio electives 3 Humanities & Sciences electives:Humanities 9Social Sciences 3 Science & Technology 9Business & Professional Practice 6Total required units 120

Illustration

Fine Arts Painting track

Term 2History of Art 1 OR History of Art 2 3Drawing Concepts 1 3Composition & Painting 3Digital Illustration OR Motion Design 1 3Design 2: Structure & Color 3Term 3Advanced Critical Practice 3Intro to Modernism 3Drawing for Illustration OR Analytical Figure Drawing 3Painting Strategies 3Materials of Art & Design; 3Expressive Type; OR Studio Practice 3Term 4Defining Your Work 3Sketching for Illustration 3Image & Idea 3Color Theory 3Term 55th Term Review 0Intro to Printmaking OR Printmaking 3Studio Visits 3Term 6Advanced Portraiture; Notorious; OR Transdisciplinary Studio 3Term 7Studio or H&S electives 3Term 8Business 101 3Portfolio Design Lab 3Additional requirementsStudio electives 15 Humanities & Sciences electives:Humanities 9Social Sciences 3 Science & Technology 9Business & Professional Practice 6Total required units 120

Illustration Design track

Term 2Intro to Modernism 3Drawing Concepts 1 3Composition & Painting 3Motion Design 1 OR Digital Illustration 3Design 2: Structure & Color 3Term 3Advanced Critical Practice 3Drawing Projects 3Drawing for Illustration 3Materials of Art & Design 3Expressive Type OR Type 1 3Term 4History of Art 1; History of Art 2; History of Art 3; History of Illustration; OR Graphic Design History 1 3Sketching for Illustration 3Image & Idea 3Illustrative Storytelling 3Color Theory 3

Term 55th Term Review 0Intro to Printmaking OR Printmaking 3Illustration Design 3Illustration Design Lab 3Term 6Illustration for Publishing OR Children’s Book Illustration 3Term 7Notorious OR Advanced Portraiture 3Term 8Business 101 3Portfolio Design Lab 3Additional requirementsStudio Electives 9 Humanities & Sciences electives:Humanities 9Social Sciences 3 Science & Technology 9Business & Professional Practice 6Total required units 120

Motion trackTerm 2Intro to Modernism 3Drawing Concepts 3Composition & Painting 3Motion Design 1 3Design 2: Structure & Color 3Term 3Advanced Critical Practice 33D Motion Graphics 3Storyboarding 1: Design & Sequencing 3Drawing for Illustration 3Expressive Type OR Type 1 3Term 4History of Art 1; History of Art 2; History of Art 3; History of Illustration; OR Graphic Design History 1 3Typography 2: Structure 3Sketching for Illustration; Intro to Printmaking; OR Printmaking 3Motion Design 2 3Storyboarding 2: Live Action 3Term 5Image & Idea 3Illustration Design Lab 35th Term Review 0Advanced 3D Motion Graphics 3Illustrative Storytelling 3Term 6Typography 4: Motion 3Term 7Digital Motion Compositing 3Term 8Business 101 3Portfolio Design Lab 3Additional requirementsStudio electives 6 Humanities & Sciences electives:Humanities 9Social Sciences 3 Science & Technology 9Business & Professional Practice 6Total required units 120

Surface trackTerm 1Writing Studio OR Writing Studio: Intensive 3Illustration Now 0Perspective 3Head & Hands 3Composition & Drawing 3Design 1 3Term 2Critical Practice 1 3Composition & Painting 3Intro to Fashion & Style 3Surface Design Now 0Design 2: Structure & Color 3Materials of Art & Design 3Term 3Intro to Modernism 3Drawing for Illustration 3Intro to Textile/Surface Design 3Pattern & Style for Surface Design 3Expressive Type OR Type 1 3Term 4Advanced Critical Practice 3History of Art 1; History of Art 2; History of Art 3; History of Illustration; OR Graphic Design History 1 3Image & Idea 3Surface Design Idea Lab 3Textile/Surface Design 1 3Color Theory for Surface Design 3Term 55th Term Review 0Sewing Lab/Soft Goods Lab 3Surface Design 2 3Intro to Printmaking for Surface Design 3Advanced Textile Design for Digital Printing 3Term 6Industry Internship 3Surface Design Studio 3Past, Present, Future— Surface Influencers 3Term 7Project Management for Surface Design 3Art Direction for Surface Design 3Term 8Portfolio Design Lab for Surface Design 3Additional requirementsHumanities & Sciences electives:Humanities 9Social Sciences 3 Science & Technology 9Business & Professional Practice 6Total required units 120

SANDRA CHRISTENSEN 89 / LAWRENCE CARROLL 80 / KATHERINE ALTIERI 81 / PATRICK HRUBY 10 / DAVID KAISER 75

115

Alumni

Ariel LeeBFA 2012

BLUE BOUQUET BY ARIEL LEE WON A SOCIETY OF ILLUSTRATORS

GOLD MEDAL.

To students entering Art Center’s Illustration program, award-winning freelance illustrator Ariel Lee offers this advice: Try new things, don’t get in a rut—and expect to be inspired by faculty members, who are “really into experimenting, keeping their work fresh, trying to break boundaries, trying to push themselves to better work.” Lee, with a focus on publishing and surface design, has already earned high-profile recognition. Her client list includes The Wall Street Journal, The New Republic and The New York Times. Her work Blue Bouquet earned the Society of Illustrators Gold Medal and her children’s book Mark and the Jellybean Monster, created under the auspices of Designmatters, was honored among a field of distinguished contenders with the 2012 Design Observer 50 Books/50 Covers Award. The awards have been an unexpected surprise, Lee says, because she is still new to the industry. “I kind of just feel proud of every piece I make that I really like.”

arielleeart.com

ILLU

STRA

TION

SANDRA CHRISTENSEN 89 / LAWRENCE CARROLL 80 / KATHERINE ALTIERI 81 / PATRICK HRUBY 10 / DAVID KAISER 75

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

116

ART CENTER INTERACTION DESIGN STUDENTS FOCUS ON THE USER EXPERIENCE. BELOW: JEFF GUO’S

GESTURE-BASED VIXUS SYSTEM FOR GOOGLE GLASS.

117

Chair

Interaction design is all around us—mobile apps, wearable technology, games, websites, social networks, art installations and public spaces are just a few examples. If you’re interested in designing interactions that are useful, innovative and delightful, there’s no better training ground than Art Center. Although this is a new major at the College, we have a rich history in interaction design, spanning the fields of graphic, transportation, enter-tainment, industrial and media design. Art Center graduates hold leading positions in companies like Apple, Google, Microsoft and IDEO. With the field of interaction design experiencing a period of tremendous growth, in 2012 we launched a degree program dedicated to creative innovation and professional leadership. We have crafted a course of study in which you think deeply about the user’s experience, apply technology creatively and invent new approaches to interaction and design. Our curriculum emphasizes core methods, tools and processes that prepare you to lead as new technologies emerge. But it’s not all about technology. After all, people interact with every object or system in our world, be they human-made or natural. In our program, you focus on the user experience and study how people think, feel and behave when they use any product, environment or system. By considering human factors, cognitive sciences and psychology, you learn how to design cohesive systems that can deeply impact people’s lives. And that’s a skill that can have lifelong applications.

artcenter.edu/interaction

Interaction Design

Maggie Hendrie

INTE

RACT

ION

DESI

GN

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

118

Claudia(Yuan) Wang

OPERATIO, TERM 3 INTERACTION DESIGN 3 / SALVADOR ORARA

EVENT CREATION SYSTEM FOR SINCLAIRE PAVILION

119

Inae Song

DISNEY EXPLORER FASTPASS APP, TERM 4 INTERACTION PROTOTYPING 4 / DAVE BULLOCK

MOBILE VISITOR APP FOR DISNEYLAND

INTE

RACT

ION

DESI

GN

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

120

Claudia (Yuan) Wang

TRAVELING TREASURES APP, TERM 4 INTERACTION DESIGN 4 / SALVADOR ORARA

121

Inae Song

TRAVELING TREASURES TABLE SYSTEM, TERM 4 INTERACTION DESIGN 4 / SALVADOR ORARA

INTE

RACT

ION

DESI

GN

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

122

Jeff Guo

VIXUS, TERM 3 INTERACTION DESIGN 3 / SALVADOR ORARA

A GESTURE-OPERATED VISION-SHARING SYSTEM BASED ON GOOGLE GLASS

123

Jeff Guo

CENTERCOM, TERM 2 INTERACTION DESIGN 2 / JASON BRUSH

IN-CAR USER INTERFACE

INTE

RACT

ION

DESI

GN

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

124

Program of Study

Term 1Writing Studio OR Writing Studio: Intensive 3Viscom Fundamentals 1 OR Persuasive Sketching 1 33D Fundamentals 1 3Design 1 3Interaction Design 1 3Digital Basics: Lynda.com 1Interaction Prototyping 1 3

Term 2Human Factors & Design Psychology 3Way Things Work/INT 2Viscom Fundamentals 2 OR Persuasive Sketching 2 3Design 2 3Interaction Design 2 3Interaction Prototyping 2 3

Term 3Intro to Modernism 3Digital Electronics 3Art of Research 3Interaction Design 3 3Interaction Prototyping 3 3Communication Design 3

Term 4History & Futures of Interaction Design 3Materials & Exploration 3Interaction Design 4 3Information Design 3Interaction Prototyping 4 3

Interaction Design

Term 5Rapid Prototyping 3Interaction Design 5 3MediaTecture 3Transdisciplinary Studio 3

Term 6Branding Strategies 3Interaction Design 6 3Advanced Interaction Studio 1 3

Term 7Professional Practice 1 for Interaction Design 3Interaction Design 7— Senior Project 3Advanced Interaction Studio 2 3

Term 8Professional Practice 2 for Interaction Design 3Interaction Studio Portfolio Prep 3Interaction Design 8— Senior Project 3

Additional requirementsStudio electives 15Humanities & Sciences electives:Humanities 6Social Sciences 3 Science & Technology 6Humanities, Social Sciences, Science & Tech OR Bus & Prof Prac 6Total required units 144

125

Current Student

Inae Song

WORK IN PROGRESS SHOTS OF FOGGY LIGHTS, AN INTERACTIVE

LIGHT SHOW EXPERIENCE BY INAE SONG.

When Inae Song, co-creator of the Art Center Orientation App, first learned of the Interaction Design program, she knew it was what she had been looking for: a major that would encompass her extensive interests in digital products, computer science, art, architectural design—and in the world of possibility. “I realized that I could combine everything together in this field where designers are not limited by a specific context and can extend their ideas to limitless media.” The program, Song explains, allows students to present their visions for the future of design and to explore them in contexts far beyond today’s existing technology. “Interaction design is not all about websites or applications,” she says. “Even if we cannot embed huge screens in a building’s surface or in a human body in the real world, we can still come up with ideas that show our concepts.” Of equal importance, she adds, “is learning what an interaction designer’s role in the real world might be, and how to convincingly present my ideas to others.”

inaesong.com

INTE

RACT

ION

DESI

GN

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

126

ART CENTER’S PHOTOGRAPHY AND IMAGING DEPARTMENT FOSTERS AN INTIMATE AND INTENSE ATMOSPHERE THAT CHALLENGES ASSUMPTIONS.

127

NOTABLE ALUMNI MARVIN RAND 48 / JAMES WOJCIK 81 / RICHARD CHOI 09 / ALISON MORLEY 78 / VAN EVERS 86

Chair

In the 21st century, the development of unprecedented avenues of communication, innovative research, and advances in hardware, software and media have impacted nearly every traditional means of image pro-duction and distribution. Photography continues to be the driver of many of these technological and perceptual changes in politics, culture, the marketplace and global conditions. As a result, image makers today are challenged to be more technically capable, conceptually knowledgeable, professionally confident, ethically responsible and culturally aware than ever before. Within a rich transdisciplinary educational environment, the Photography and Imaging Department is taking photographers into the future. Our strong relationships with industry, long tradition of integrating photog-raphy with other design disciplines, and deep experience designing new technologies and applying creative solutions to social impact problems have opened professional doors for countless graduates. Art Center offers an intimate and intense atmosphere of study that challenges assumptions about our medium, nurtures and promotes originality, and encourages individualized practice in student work, whether your goal is to become a commercial photographer, an artist, or both. Here, you learn to apply the tools of photography—traditional and digital—in a specific and personal investigation of cultural conditions or questions. Our program stresses conceptual development and social awareness aligned with the integration of professional technique and strategies, in the development of a dynamic career in image making. Images are the new global documents. They represent a new literacy and currency of this time, and will continue to be the most essential component of compelling stories in a world with an insatiable need to be informed.

artcenter.edu/photo

Photography and Imaging

Dennis Keeley

PHOT

OGRA

PHY

AND

IMAG

ING

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

128

JEN ROSENSTEIN 08 / LOU JACOBS 50 / ANN CUTTING 87 / MELODIE MCDANIEL 91 / LEE FRIEDLANDER 54 / CHARLES BUSH 71 PEDRO E. GUERRERO 40 / EVERARD WILLIAMS 89 / SALLY ANDERSEN-BRUCE 73 / CO RENTMEESTER 65 / ANDREW BERNSTEIN 81

Vicky Moon

TERM 4 ARCHITECTURE / PAUL BIELENBERG

129

JEN ROSENSTEIN 08 / LOU JACOBS 50 / ANN CUTTING 87 / MELODIE MCDANIEL 91 / LEE FRIEDLANDER 54 / CHARLES BUSH 71 PEDRO E. GUERRERO 40 / EVERARD WILLIAMS 89 / SALLY ANDERSEN-BRUCE 73 / CO RENTMEESTER 65 / ANDREW BERNSTEIN 81

Natalie Galdamez

TERM 3 COLOR / PATTI PETERS

PHOT

OGRA

PHY

AND

IMAG

ING

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

130

GEORGE NICKS 86 / ZHE CHEN 11 / WAYNE MILLER 41 / CHARLIE WHITE 59 / BARTHOLOMEW COOKE 07 / NORMAN MAUSKOPF 80 JOSEPH LLANES 06 / MYRIAM NEGRE 95 / JON KUBLY 80 / HERMAN WALL 38 / MATTHEW ROLSTON 78 / VICTORIA PEARSON 80

Jessica Portillo

TERM 3 PERSONAL PROJECT

131

GEORGE NICKS 86 / ZHE CHEN 11 / WAYNE MILLER 41 / CHARLIE WHITE 59 / BARTHOLOMEW COOKE 07 / NORMAN MAUSKOPF 80 JOSEPH LLANES 06 / MYRIAM NEGRE 95 / JON KUBLY 80 / HERMAN WALL 38 / MATTHEW ROLSTON 78 / VICTORIA PEARSON 80

PHOT

OGRA

PHY

AND

IMAG

ING

Jesse Narducci

TERM 6 FOOD / PORNCHAI MITTONGTARE

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

132

SID AVERY 38 / GEORGE HOLZ 80 / VICTORIA CAMERON 80 / HOWARD ZIEFF 50 / HIROSHI SUGIMOTO 74 / RUSS WIDSTRAND 82 SONJA PACHO 96 / MARK ARBEIT 79 / GREGORY BOOTH 70 / NICHOLAS ALAN COPE 07 / ELEANOR STILLS 12 / SPENCER LOWELL

James Walker

TERM 5 ALTERNATIVE PORTRAITURE / KEN MERFELD

133

SID AVERY 38 / GEORGE HOLZ 80 / VICTORIA CAMERON 80 / HOWARD ZIEFF 50 / HIROSHI SUGIMOTO 74 / RUSS WIDSTRAND 82 SONJA PACHO 96 / MARK ARBEIT 79 / GREGORY BOOTH 70 / NICHOLAS ALAN COPE 07 / ELEANOR STILLS 12 / SPENCER LOWELL

PHOT

OGRA

PHY

AND

IMAG

ING

Irina Garaicu

TERM 8 PERSONAL PROJECT

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

134

Program of Study

Term 1Writing Studio OR Writing Studio: Intensive 3Design 1 3Concept 3Imaging 1 3Advanced Photo Processes 1 3

Term 2Intro to Modernism 3View Camera 3Core Lighting 3Composition 3Imaging 2 3

Term 33rd Term Review 0Critical Practice 1 3History of Photo 1 3Professional Presentation 3Portrait Lighting 3Color 3

Term 4Advanced Critical Practice 3History of Photo 2 3Fine Art Photography 3Architecture 3Still Life OR Product Photography 3


Term 55th Term Review 0Business & Professional Practice 3Location Photography 3Design 2 3

Term 6Marketing & Self Promotion 3Portfolio Development 3Transciplinary Studio 3

Term 77th Term Review 0Photo Production 3Video & Multi-Media 3

Term 8Final Crit 3

Additional requirementsStudio electives 15 Humanities & Sciences electives:Humanities 9Social Sciences 3 Science & Technology 6Total required units 120

ALESSANDRA PETLIN 02 / DICK HAM 51 / ANNA WOLF 02 / RICHARD ESKITE 82 / JUST LOOMIS 80 / CHRISTOPHER CALLIS 73

135

Alumni

Peden+Munk Taylor Peden and Jen Munkvold

BFA 2007

TAYLOR PEDEN AND JEN MUNKVOLD FIRST TEAMED UP IN THE

CLASSROOM. TODAY THEIR CLIENTS INCLUDE GQ, LANGHAM HOTELS AND

CRATE & BARREL.

As Peden+Munk, Taylor Peden and Jen Munkvold specialize in photo essay-style editorial and commercial work for major companies and magazines, chefs, restaurants and hotels. Among their growing high-profile client list: Bon Appétit, Sunset, Glamour, GQ, Food & Wine, Langham Hospitality Group, Williams-Sonoma and Crate & Barrel. Recent projects include collaborative work with three-star Michelin chef Christopher Kostow on his new cookbook. Peden and Munkvold first teamed up in class in 2006, shooting fashion and portraiture. After graduation, Peden said, they realized their joint efforts “just had a certain vibe” that made sense aesthetically and professionally. They credit their Art Center instructors and peers for the discipline, focus and creative inspiration that enabled them to develop their signature narrative vision. “You can’t put a price on that,” Peden says. Today, when they discover that they are working with other Art Center alumni, Munkvold added, “there’s a trust level that you have knowing that someone else went through a rigorous, crazy program that really made for some amazing creative calls. It’s kind of great.”

pedenmunk.com

PHOT

OGRA

PHY

AND

IMAG

ING

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

136

PRODUCT DESIGN AT ART CENTER IS GROUNDED IN A HUMAN-CENTERED APPROACH. BELOW: DERRICK TAN’S

LINK BOW FOR SPECIAL NEEDS ATHLETES.

137

NOTABLE ALUMNI IAN SANDS 95 / AL VAN NOY 87 / TAKUO HIRANO 57 / AUDREY LIU 07 / NIKLAS GUSTAFSSON 98

Chair

While the core of what we do as product designers involves understanding people’s needs, identifying opportunities for innovation, visualizing ideas and realizing solutions, it’s imperative that we understand and embrace the limitless array of opportunities we have to shape our future. As the role of design continues to expand and diversify, emerging techno-logies and platforms for innovation are enabling “design entrepreneurs” to take ideas from concept to marketplace. And design is increasingly recognized as crucial to achieving commercial and organizational success, and vital in improving lives. Product Design at Art Center provides you with a foundation in the design process, grounded in a human-centered approach and in professional practice. This ethos is crystallized in the Department’s many social impact projects created in collaboration with the Designmatters Department. Along with core visual, creative, technical and analytical skills, you gain a comprehensive understanding of design research methodologies, business principles, materials technologies, manufacturing processes, global trends and sustainability through our state-of-the-art research lab, CMTEL (Color, Materials and Trends Exploration Laboratory). Our partnership with the international business school INSEAD enables students interested in the intersection between design and business to immerse themselves for a semester in an MBA program. Students also benefit from participation in DesignStorms® and other Sponsored Project courses commissioned by corporate partners seeking to explore new frontiers in design and innovation. Good design is about combining functionality, relevance and commercial viability with visual and emotional appeal in a marketplace that demands products that minimize environmental impact, from production to disposal. You emerge from our program prepared to meet these needs on both local and global scales, having developed the tools to visualize the future and the skills to become a creative leader.

artcenter.edu/prod

Karen HofmannProduct

Design

PROD

UCT

DESI

GN

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

138

LAURA DYE 03 / WILLIAM DAVIDSON 57 / SIGI MOESLINGER 91 / NASAHN SHEPPARD 97 / JOE TAN 94 / HEATHER EMERSON 04 WILHELM OEHL 94 / MARIANA PRIETO 12 / ROB BRUCE 93 / CLAUDE ZELLWEGGER 97 / YVES BEHAR 91 / GRETCHEN WUSTRACK 99

Joel Greenspan

PERFORMANCE SUIT FOR SPACE TRAVEL, TERM 6 APPAREL DESIGN / JUSTINE PARISH

139

LAURA DYE 03 / WILLIAM DAVIDSON 57 / SIGI MOESLINGER 91 / NASAHN SHEPPARD 97 / JOE TAN 94 / HEATHER EMERSON 04 WILHELM OEHL 94 / MARIANA PRIETO 12 / ROB BRUCE 93 / CLAUDE ZELLWEGGER 97 / YVES BEHAR 91 / GRETCHEN WUSTRACK 99

JJ Hwang

ALPINE HIKING SHOE, TERM 8 PRODUCT DESIGN 8 / GRANT DELGATTY

PROD

UCT

DESI

GN

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

140

PETER YEE 72 / BOBBY CHANG 94 / GARY SCHULTZ 93 / MIKE SIMONIAN 95 / JOEL BELL 01 / JON GUERRA 94 / CARL LIU 96 KENNETH JEWELL 98 / ERIC CHEN 98 / KATIE DILL 07 / TYLOR GARLAND 94 / THOMAS MEYERHOFFER 91 / NATHAN COOKE 08

Kuan Yu Lin

SNOWEEL, TERM 4 PRODUCT DESIGN 4 / FRIDOLIN BEISERT

WHEELCHAIR THAT CAN TRAVERSE ICE AND SNOW.

141

PETER YEE 72 / BOBBY CHANG 94 / GARY SCHULTZ 93 / MIKE SIMONIAN 95 / JOEL BELL 01 / JON GUERRA 94 / CARL LIU 96 KENNETH JEWELL 98 / ERIC CHEN 98 / KATIE DILL 07 / TYLOR GARLAND 94 / THOMAS MEYERHOFFER 91 / NATHAN COOKE 08

Junyong Park

UNISNOW, TERM 4 PRODUCT DESIGN 4 / FRIDOLIN BEISERT

COMBINES THE UNICYCLE EXPERIENCE WITH THE ABILITY TO PERFORM A VARIETY OF TRICKS ON SNOW.

PROD

UCT

DESI

GN

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

142

OLIVER SEIL 98 / MARNI GERBER 85 / JEFF SALAZAR 94 / SPENCER NIKOSEY 01 / FRANK NUOVO 86 / DANIEL ASHCRAFT 73 RICO ZORKENDORFER 96 / ERIC BURNS 07 / AGNETE ENGA 02 / KENJI EKUAN 57 / BILL WORTHINGTON 88 / DAVE DOMBROW 00

Alex Cabunoc

CRAFTSMAN TOOLS REBRANDING, TERM 7 PRODUCT DESIGN 7 / JAMES CHU

143

OLIVER SEIL 98 / MARNI GERBER 85 / JEFF SALAZAR 94 / SPENCER NIKOSEY 01 / FRANK NUOVO 86 / DANIEL ASHCRAFT 73 RICO ZORKENDORFER 96 / ERIC BURNS 07 / AGNETE ENGA 02 / KENJI EKUAN 57 / BILL WORTHINGTON 88 / DAVE DOMBROW 00

Soo Jin Kim

HOOP ROLLING CHILDREN’S TOY, TERM 2 PRODUCT DESIGN 2 / JOSH NAKAYA AND CHRIS WU

PROD

UCT

DESI

GN

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

144

Program of Study

Term 1Writing Studio OR Writing Studio: Intensive 3Viscom Fundamentals 1 33D Fundamentals 1 3Study Models/PROD 2Way Things Work /PROD 2Design Fundamentals 1 3Product Design 1 3

Term 2Intro to Modernism 33D Fundamentals 2 3Digital Design 1 3Design Fundamentals 2 3Visual Communication 2 3Product Design 2 3

Term 33rd Term Review 0History of Industrial Design 3Rapid Prototyping 3ID Form Language 3Visual Communication 3 3Product Design 3 3

Term 4Materials & Methods 1 3Product Design 4 3Visual Communication 4 3ID Graphics 3Solid Modeling 3

Product Design

Term 5Design for Sustainability 3Product Design 5 3Visual Communication 5 3Interface Design 3Industrial Design Research 3Internship Portfolio 2

Term 66th Term Review 0Business of Design 3Human Factors & Design Psychology 3Product Design 6 3Open Innovation 3Visual Communication 6 3

Term 7The Design Professional 3Insights 3Product Design 7 3Transdisciplinary Studio 3

Term 8Professional Preparation (Workshop) 0Portfolio 3Product Design 8 3


STEVE TAKAYAMA 95 / HABIB ZARGARPOUR 91 / MARTIN LOTTI 97 / MARKUS DIEBEL 94 / GORDON BRUCE 72 / JAVIER VERDURA 91

145

Alumni

Mariana PrietoBS 2012

MARIANA PRIETO’S PASSION FOR SOCIAL IMPACT DESIGN

CONTINUES. IMAGES COURTESY OF IDEO.ORG

Mariana Prieto worked on her portfolio for more than a year before applying to the Product Design program, “so that if I did get into the school, I would instantly be a part of the Designmatters track.” Her goal was to focus entirely on social innovation, and Art Center’s bridging of traditional product design and social impact design through the Designmatters program enabled Prieto to develop a career path in this emerging, human-centered field. Among her Designmatters projects, Prieto was lead innovator for the award-winning water accessibility initiative, Safe Agua Peru. To highlight design thinking as a “piece of the world puzzle,” she spearheaded Art Center’s first TEDx conference. Recipient of a prestigious IDEO Fellowship, Prieto has been instrumental in designing micro businesses for rural women in India. She has also worked in Zambia to help design new family planning and reproductive health programs for young people. “My favorite answer to most questions,” Prieto says, “is ‘why not?’ If you can’t find an answer to ‘why not,’ then the worst that people can say to you is ‘no.’”

marianaprieto.com

PROD

UCT

DESI

GN

STEVE TAKAYAMA 95 / HABIB ZARGARPOUR 91 / MARTIN LOTTI 97 / MARKUS DIEBEL 94 / GORDON BRUCE 72 / JAVIER VERDURA 91

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

146

TRANSPORTATION DESIGN STUDENTS LIKE YANA BRIGGS ARE PASSIONATE PROBLEM SOLVERS FOCUSED ON DEVELOPING DESIGN SOLUTIONS.

147

NOTABLE ALUMNI RICHARD “DICK” TEAGUE 50 / MIGUEL GALLUZZI 86 / LUC DONCKERWOLKE 91 / PETER BROCK 56

Chair

The challenges facing the transportation and automotive industry present tremendous opportunities for transportation designers. Art Center has long served as a globally recognized catalyst for innovation. As transportation designers, our students grow to become passionate problem solvers focused on developing design solutions to address these challenges.

With dozens of advanced automotive design studios and companies leading the emerging fields of new mobility and alternative energy located in Southern California, we are positioned at the heart of trans-portation design’s future. Our instructors are professional designers and successful entrepreneurs working in the industry and serving as experts on important topics being debated in the field. Thanks to this vibrant current of energy passing between the campus and the “real world,” students gain an insider’s perspective of this rapidly changing and highly competitive profession.

Known for more than its longstanding influence in automotive design, our program can prepare you for a career in motorcycle, marine, aircraft, commercial transport, personal mobility and public transit design, as well as vehicle interiors. Exploring the balance between form and func-tion, you will develop the ability to create vehicle concepts with distinct personality, improved function and broad social impact.

In addition to traditional elements of styling, comfort, safety and usability, our curriculum emphasizes vital topics such as sustainable mobility, the implications of brand, and product life cycle. You will gain fluency in drawing and in physical and digital modeling skills, plus develop an understanding of vehicle architecture, materials, process and aerodynamics. And you will join the next generation of designers tackling problems that may not be articulated yet, creating the future and participating in the innovation economy.

artcenter.edu/transportal


Stewart Reed

TRAN

SPOR

TATI

ON D

ESIG

N

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

148

CHRISTOPHER BANGLE 81 / ERIC BARBA 92 / LARRY WOOD 65 / JETTE JOOP 92 / THOMAS TREMONT 71 / DEREK JENKINS 93 SYD MEAD 59 / WAYNE CHERRY 62 / SHIRO NAKAMURA 81 / FRANZ VON HOLZHAUSEN 92 / CHIP FOOSE 90 / JASON CASTRIOTA 00

Gurminder Bhandal

MCLAREN SUPERCAR TRANSPORTATION DESIGN 8: INTERIOR AND TRANSPORTATION DESIGN 8: EXTERIOR /

MAREK DJORDJEVIC AND JASON HILL

149

CHRISTOPHER BANGLE 81 / ERIC BARBA 92 / LARRY WOOD 65 / JETTE JOOP 92 / THOMAS TREMONT 71 / DEREK JENKINS 93 SYD MEAD 59 / WAYNE CHERRY 62 / SHIRO NAKAMURA 81 / FRANZ VON HOLZHAUSEN 92 / CHIP FOOSE 90 / JASON CASTRIOTA 00

TRAN

SPOR

TATI

ON D

ESIG

N

Bruno Gallardo

LIGHTWEIGHT VEHICLE STRUCTURE STUDY VEHICLE TECHNOLOGY 4 / ERIC NOBLE

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

150

WILLIE G. DAVIDSON 57 / KEN OKUYAMA 86 / TISHA JOHNSON 99 / CHRISTOPHER CHAPMAN 89 / JOHN J. “JACK” TELNACK 58 LARRY SHINODA 54 / DAVE MAREK 87 / CHUCK PELLY 58 / GRANT LARSON 86 / FREEMAN J. THOMAS 83 / CHRISTINE PARK 06

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

151

WILLIE G. DAVIDSON 57 / KEN OKUYAMA 86 / TISHA JOHNSON 99 / CHRISTOPHER CHAPMAN 89 / JOHN J. “JACK” TELNACK 58 LARRY SHINODA 54 / DAVE MAREK 87 / CHUCK PELLY 58 / GRANT LARSON 86 / FREEMAN J. THOMAS 83 / CHRISTINE PARK 06

TRAN

SPOR

TATI

ON D

ESIG

N

Wojciech Bachleda

INDIAN SCOUT ELECTRIC MOTORCYCLE TRANSPORTATION DESIGN 8: INTERIOR AND TRANSPORTATION DESIGN 8: EXTERIOR /


ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

152

LUC MAYRAND 85 / DAVID ROBB 79 / TOM PETERS 79 / GÉZA LÓCZI 65 / FRANK SAUCEDO 84 / GREG BREW 91 / J MAYS 80 ROBERT CUMBERFORD 54 / JOHN BELL 81 / HENRIK FISKER 89 / STROTHER MACMINN 35 / RONALD HILL 54 / JAE MIN 94

Michael Hritz

SNOWMOBILE CONCEPT TRANSPORTATION DESIGN 8: INTERIOR AND TRANSPORTATION DESIGN 8: EXTERIOR /


153

LUC MAYRAND 85 / DAVID ROBB 79 / TOM PETERS 79 / GÉZA LÓCZI 65 / FRANK SAUCEDO 84 / GREG BREW 91 / J MAYS 80 ROBERT CUMBERFORD 54 / JOHN BELL 81 / HENRIK FISKER 89 / STROTHER MACMINN 35 / RONALD HILL 54 / JAE MIN 94

TRAN

SPOR

TATI

ON D

ESIG

N

Jon Wen

AUDI CONCEPT VISCOM FUNDAMENTALS 7 / JAE MIN

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

154

Program of Study

Term 1Writing Studio OR Writing Studio: Intensive 3Viscom Fundamentals 1 33D Fundamentals 1 3Design Process 1 3Study Models 3Design Fundamentals 1 3

Term 2Art of Research 3Way Things Work/TRAN 3Viscom Fundamentals 2 33D Fundamentals 2 3Design Process 2 /TRAN 3Design Fundamentals 2 3

Term 33rd Term Review 0Intro to Modernism 3Transportation Histories 3Transportation Studio 3A 3Transportation Studio 3B 3Vehicle Technology 3 2Vehicle Architecture 2Viscom Fundamentals 3 3

Term 4History of Automobile Design 33D Digital 4 3Transportation Studio 4A 3Transportation Studio 4B 3Vehicle Technology 4 2 Viscom Fundamentals 4 3


Term 55th Term Review 0Automotive Engineering 3Materials & Methods 1 3Transportation Studio 5A 3Transportation Studio 5B 3Viscom Fundamentals 5 33D Digital 5 3

Term 6The Design Professional 3Human Factors & Design Psychology 3Insights for Transportation Design 3Transportation Design 6 3Viscom Fundamentals 6 3

Term 77th Term Review 0Transportation Design 7 3Auto Product Planning 3Viscom Fundamentals 7 3

Term 8Transportation Studio 8A 3Transportation Studio 8B 3


HARALD BELKER 90 / GLADE JOHNSON 69 / BRYAN E. NESBITT 93 / HIROSHI ISHIBASHI 71 / FRANK STEPHENSON 86

155

Alumni

Christine ParkBS 2006

CHRISTINE PARK’S CADILLAC CIEL INTERIOR CONCEPT.

“Millions of people who don’t know me are going to know my work,” says Christine Park, lead exterior designer at the Cadillac Design Studio in Michigan. “That’s an incredible feeling. What a great way to extend your influence through your talent and your art and design.” Park was still a student at Art Center—the best school for car design, in her judgment—when her real-world experience with luxury car design began with a 2006 internship at GM’s North Hollywood Advanced Design Center. “Before I found out about car design, I was doing illustration and drawing, producing two-dimensional art,” she says. “I just fell in love with this transitional phase—turning that drawing into a product.” Park urges students interested in this highly competitive field to “ask yourself why you want to become a car designer. What is it about car design you love the most? What is it that intrigues you? Once you start to define passion, you can carry that passion all the way through.”

cadillac.com

TRAN

SPOR

TATI

ON D

ESIG

N

NIK HAFERMAAS IN LOREM IPSUM CLASS OF

DOLOR SIT LOREM AT

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

156

Under-graduate

admissions

Undergraduate Admissions

157

Art Center welcomes applications from students who are committed to pursuing a career in the visual arts and design. Our programs are specialized, so applicants must carefully consider their choice of major before applying. Your classmates will be serious and talented. Art Center is committed to bringing together a diverse and motivated group of students to work with our exceptional faculty—who together create your classroom experience. Your choice of a college will affect your life and career in significant ways. 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 will guide you through the application process, provide portfolio advice, answer your questions and serve as your admissions mentors. Applications are evaluated by a committee. They will base admission on a strong portfolio, sound academic record in high school or college, your application essays and other application responses, including background history. The acceptance process is independent of your intent to apply for financial aid.

Your Choice of MajorArt Center does not offer a foundation (undeclared major) program. You will choose a major at the time you apply to Art Center. We offer 11 undergraduate programs and each curriculum is distinct. It is important that you read about the majors carefully and review their portfolio requirements as they are specific to each major.

Bachelor of Fine Arts (BFA) Advertising

Film Fine Art

Graphic Design Illustration


Bachelor of Science (BS) Entertainment Design Environmental Design

Interaction Design Product Design


We encourage students to spend time exploring their choice of major prior to applying 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 Sciences classes, are offered at Art Center. You can take the entire program here, or transfer in credits prior to entry.

Integrated StudiesClasses in the Integrated Studies Department cover material common to most disciplines, such as basic visual vocabulary, craftsmanship and technical skills. Students from multiple majors study together in these classes, which are automatically included in your department’s curriculum. In addition to providing a thorough grounding in essential subject matter, Integrated Studies cultivates the transdisci-plinary culture that uniquely distinguishes education at Art Center.

Humanities and SciencesAll Art Center students take classes in the Humanities and Sciences (H&S) Department, covering academic subjects often referred to as liberal arts and sciences. H&S classes work in conjunction with the studio programs to foster thoughtful and rigorous inquiry across the College, traversing cultural, historical, literary, philosophical and scientific perspectives. In this way, we ensure that you receive a complete education, and that upon graduating you have the knowledge required to map an informed individual path.

Counseling and VisitingWe would like to start working with you early on in your application process. Visit us!

CounselingMeet 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 also be made for phone or Skype counseling sessions if you email us or post your portfolio work online.

TourStudent-led tours of our Hillside Campus are held Monday–Friday at 2 p.m. Tours of the College’s Fine Art and Illustration facility at 870 S. Raymond Avenue are also available by appointment.

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

158


ContactCall 626 396-2373 for a counseling or tour appoint-ment, or to speak with a counselor if you are unable to visit in person.

Application RequirementsWe recommend consulting the Art Center website for any updates to 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 online or download it from artcenter.edu.

2 Complete all required essays described on the application.

3 Submit the nonrefundable application fee. The 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. Once submitted, all docu-ments become the property of the College and cannot be returned to the applicant.

– High school transcripts or a General Equivalency Diploma (G.E.D.) must be submitted by all students except those holding a prior bachelor’s 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 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.

– College transcripts should be requested from each individual college attended. A transcript must be submitted from each college attended for course credit.

– 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 translator.

– Non-degree programs: If you have attended a non-degree school program or tutorial, list it on your application. This is important to our under-standing of your background.

5 Submit official copies of SAT or ACT scores if currently enrolled in high school.

6 Submit TOEFL (Test of English as a Foreign Language) or IELTS (English Language Testing System) if applicable.

– Undergraduate applicants who have not completed high school or a bachelor’s degree program in which the language of instruction was English must take the Internet-based TOEFL (iBT) or IELTS. Students who have taken ESL classes in high school may be asked to submit a TOEFL or IELTS. The Admissions Committee may request a test result from any student whose command of English is in doubt based on inter-view, writing ability or prior grades or test scores.

– TOEFL: a minimum score of 80 is required, and each section of the score will be evaluated for pro- ficiency. IELTS: a minimum score of 6.5 is required. We are not registered for electronic download of IELTS scores and an institution code is not required. Scores must come directly from the testing services and must have been taken within two years prior to the time of application. We do not accept institutional versions of either test.

Visit toefl.org or ielts.org for registration and testing information.

7) Submit a portfolio of your work.

Art Center requires a major-specific portfolio. Find your major in the section below and follow the portfolio requirements listed. General portfolios are not acceptable.

Portfolio RequirementsMeet with an Admissions counselor for advice on preparing your portfolio at a National Portfolio Day event, by appointment in our Admissions Office, or via phone or Skype.


159

Public ProgramsIn the event an Admissions counselor feels your portfolio is not quite ready for consideration to a degree program, Art Center’s Public Programs provide an excellent avenue to develop it further. Through Saturday High (for students in grades 9 –12) or Art Center at Night (our part-time continu-ing studies program), prospective students can strengthen or refine their body of work, in some cases earning transferable course credit. For more information about Public Programs, visit artcenter.edu/publicprograms.

Portfolio Requirements by MajorAdvertising

Advertising majors should demonstrate innovative thinking with words and images to promote prod-ucts or ideas through ads. Work should demonstrate a fresh, original way of looking at things, possibly incorporating humor or other means by which the public’s attention is drawn to the ad. Your advertis-ing portfolio work should be clean, clear and well presented, but spend the majority of your time developing interesting, sharp, original, I-never-would-have-thought-of-that ads. The quality of your thinking is more important than the finish. If you have previous experience in advertising, submit eight to 10 print advertising concepts. These should demonstrate your facility with both copy (words) and visuals. Include preliminary sketches demonstrating your idea-generation process. If you’ve worked in video or other media, include those as well. If you have no previous experience in advertising, submit at least five pieces that demonstrate your ability to represent your ideas visually, but also include at least five specific advertisements. We’ve created some assignments to help you demonstrate your potential for advertising. You can utilize these assignment suggestions below or submit ad assign-ments of your own devising. Create these through drawings, photography, photo-collage, digital images or any combination.

– Select one or more existing print ads and recreate them. Make them better.

– Create a print campaign that sells you to Art Center.

– Design a campaign to teach teens 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.

Entertainment DesignThe task of a concept designer for the entertainment industry is to provide diverse 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 topics—environments, characters, vehicles and props—should be included in your portfolio. Include both early concept design sketches and more finished renderings to demonstrate your thinking process. Be sure to focus on imagery that shows the entire physical world you are portraying, not just the characters. Emphasize well-drawn original design variations more than highly finished color renderings. Sketch- books are a welcome addition. Traditional media— sketches, pencil, pen and/or imagery created digitally and presented as a print—are acceptable. Students who have a strong interest in another major may indicate an alternate choice of major on their application and fulfill those portfolio require-ments. 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.

Environmental DesignSubmit a minimum of three spatially or 3D-oriented 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.

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

160


FilmSubmit at least two completed film or video projects that demonstrate your visual narrative storytelling abilities as a filmmaker. The total running time of the work you submit should be at least five minutes but should not exceed 20 minutes. Submitted work can include short films of any genre, documentaries, or multiple commercials or music videos, but all work must demonstrate your narrative storytelling abilities. Your work should also demonstrate competency in cinematography, lighting, staging, editing and sound. At least one of your projects should employ sync sound. Submit only projects on which you played a key creative role as director, cinematographer or editor; be sure to clearly indicate the role you played on each project. Portfolio work is only accepted via link to Vimeo by indicating your link along with your application. In the written statement accompanying your application, keep in mind that we are particularly interested in learning what inspires you to make films, what sorts of films you want to make, and a brief description of your favorite filmmakers.

Fine ArtInclude a representative selection of your work in any media. In addition to submitting examples of foun-dation skills, also present personal work that reveals experimentation and imagination. Work can include all forms of drawing, repre-sentational and nonobjective painting, sculpture, printmaking, photography, film, video and installa-tion documentation. Conceptual work and artist’s statements are also welcome. You can include 10–15 pages from your sketchbook as one PDF. Students seeking the Illustration minor should submit 10–12 figure drawings from the live model.

Graphic DesignInclude 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. Submit at least eight to 10 pieces or projects. 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. Motion work should be submit-ted as storyboards as well as on a CD as QuickTime files that are optimized at 200 MB or less and are Mac-compatible.

IllustrationSubmit 10–15 original figure drawings from a live model that include both gestural and more devel-oped pieces. These should demonstrate 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.

Interaction DesignYour portfolio should demonstrate a keen interest in designing for new technologies and user experience, but also show your personal creativity and vision. Your portfolio should communicate how you identify needs, solve problems, and what processes you use. Your work should include three to four proj-ects — ones that utilize interactivity, such as mobile or social applications; website designs; designs for new products; unique games; gestural interfaces; spatial projects such as smart spaces; and smart products, consumer electronics, or examples of communication-centered projects. These should utilize digital media, interface design or program-ming. Feel free to include examples of your research or statements about the purpose and meaning of your projects. For each project, submit examples of process work that show us the stages of development and the variations you explored. Focus on ideas that use innovative interactivity, user-centered design and your use of technology either on- or off-screen. Feel free to include one or more examples of portfolio work from a related field of interest such as drawing, painting, video or photography, graphic design, industrial design or environmental design. Sketchbook examples should be scanned and included as a separate PDF. Each project should be grouped as a single PDF.


161

Photography and ImagingSubmit a minimum of 12–15 black-and-white, color or digital images. Do not submit black-and-white exclusively. Photos should reflect a connection between idea and technique and display the appli-cant’s strengths in implementing an original image and vision. Photos should include original imagery, not only shots of existing places or things. A variety of subjects and concept explorations are encour-aged, but submissions must include shots of people as subject matter. Projects and series can also be included. Prints submitted should be at least 8˝x10˝ and no larger than 16˝x20˝.

Product DesignProduct portfolio submissions should demonstrate a passion for problem solving, the ability to explore multiple creative ideas through sketches and, if available, through models or prototypes. Concepts should be presented in sketches that clearly define their forms and their functions. Skill of presentation as well as the quality of the design solutions are important. Emphasis should be on the function of the product as well as the aesthetic development and originality of the design. Submit a minimum of three to five comprehen-sive projects that showcase your design process from start to finish. These projects can come from a variety of fields including: soft goods and wearables; medical devices; sustainability and packaging; consumer electronics; furniture and lighting; house- and kitchen-ware; toys and learning; humanitarian relief; and sporting goods. For each project include: 1) An introductory statement that describes the need and goals for the product; 2) Research highlights that identify insights and opportunities; 3) Exploratory sketches that show a variety of creative solutions for each of the developed concepts; 4) Intermediate sketches that highlight your decision-making process and aesthetic development; and 5) Final renderings or drawings of your design solutions or models/prototypes, if available. These should make clear the benefits to the user. Each project should be grouped as a separate PDF. For consistency, identify each page by adding titles, brief descriptions, dates and your name. If submitting group projects, clearly state your role and responsibilities in the design process. You can also include scanned sketchbook pages that highlight other product ideas; drawing from life; user scenario ideas; clippings; apparel designs; material or spatial relationship ideas; or any other

design-related topics. We are interested in under-standing where your curiosity takes you and the other topics into which you have been delving.

Transportation DesignPortfolio submissions should demonstrate a passion for, and curiosity about, the future of transportation, including cars, trucks, public transportation, boats, motorcycles or alternative mobility. Designs of inte-riors are encouraged. Submit four to five complete projects that show your original transportation design concepts through a series of sketches. These should represent a variety of vehicle types. Inclusion of designs for non-vehicular products is encouraged. Drawing (non-digital) should be the primary means for communication of ideas. For each project include: 1) An introductory statement that describes the title, goal, and audience; 2) Research highlights that identify insights and markets; 3) Exploratory sketches that show a variety of cre-ative solutions for each of the developed concepts; 4) Intermediate sketches that highlight your decision-making process and aesthetic development; and 5) Final renderings or drawings of your design or models/prototypes if available. Developmental sketches are the key elements and should be the focus of each project. Inclusion of informal sketches (loose or in notebook form) that show idea develop-ment is highly recommended, and these can be scanned and grouped on a PDF. Group each project as a separate PDF if using Slideroom.

Submitting your PortfolioWe currently provide the following methods for you to submit your portfolio. Read the details on each format, and choose only one. Do not submit work via multiple formats.

1 Slideroom (Web-based). Our preferred method for submission is through Slideroom. Upload your portfolio images at artcenter.slideroom.com. Slideroom will charge a nominal fee for this service. Full instructions are listed on the site. For general artwork, we recommend scanned images rather than photos for best resolution.

2 Non-returnable printed portfolio. Size limit is 11˝x17˝ maximum, including the envelope or covering. This can include a presentation format or simply individual samples of the work. This format works well for the design disciplines in which presentation or project formats are appro-priate. Copies from a sketchbook can be included in this format along with the portfolio. Work will

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

162


not be returned. Mail to: Admissions Office, Art Center College of Design, 1700 Lida St., Pasadena, CA 91103.

3 Vimeo for Film applicants. Film applicants must provide a link to their work on Vimeo via an email to [email protected]. Include your full name and address.

4 Drop off original work. You can submit a portfolio of original work by dropping it off and picking it up at the Admissions Office. Weight limit is 25 lbs.; size limit is 34˝ x 24˝ maximum dimensions. This must be brought to the Admissions Office at Art Center during business hours, 8:30 a.m. to 4:30 p.m., Monday through Friday, or can be mailed. Portfolios must be picked up in person immediately after notification that they have been reviewed/released or they will be disposed of 30 days after notification. No portfolios will be returned by mail.

Undergraduate Submission Dates

Art Center reviews and accepts undergraduate applications on an ongoing or rolling basis for most undergraduate majors until a department is full for any given term. There are no specific application submission deadlines but scholarship applicants may want to meet the priority dates—with the exception of the Entertainment Design major, which has set deadlines of February 1 for the Fall term and October 1 for the Spring term. Check with the Admissions Office for majors that offer starting times in the summer. Students can be considered for scholarship and financial aid at most times during the admissions cycle, but priority scholarship dates by which to sub-mit the application materials and Free Application for Student Aid (FAFSA) are:

Spring term: October 1 Summer term: January 15

Fall term: February 15

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.

Notifications, Tuition Deposit and Deferrals

Application NotificationsApplicants will be notified of the Admissions Committee’s 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. A health form including tuberculosis test require-ment 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 accom-modation should discuss his or her needs with the Center for Student Experience staff. Students can request a copy of Art Center’s Student Handbook, which contains additional policy information. A copy will be provided to all students at orientation.

Tuition DepositUpon acceptance, an enrollment agreement form and further instructions will be issued. The completed agreement, along with a $300 undergraduate or $400 graduate 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; admission does not guarantee a place in the class. A student’s place in the class is not assured until the College has sent the student a written confirmation of receipt 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. Undergraduate students will be offered a place in the next available term if they have been accepted but no space is currently available.

DeferralsAccepted undergraduate applicants, with the exception of Entertainment Design majors, can defer their admission for one consecutive term following their acceptance (provided there is room). The 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. Graduate students cannot defer their acceptances.


163

ReadmissionStudents who have been absent from Art Center without a leave of absence are subject to readmis-sion procedures. Please contact the Admissions Office at 626 396-2373 for further information.

Your Program of StudyMost students will enroll in a program that takes a minimum of eight 15-week terms (semesters). Students entering the Bachelor of Science degree programs should expect the possibility of eight to nine semesters for completion. 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 year-round for three terms can finish in a minimum of two years and eight months—with the exception of Entertainment Design students, who attend studio classes in the Fall and Spring terms only; Summer terms may be taken off, or students may take Humanities and Sciences classes.

Transfer StudentsStudents who have completed studio course work at another college that parallels the major course work at Art Center may receive advanced standing. Advanced standing is dependent 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 Sciences (liberal arts) transfer credit is awarded based on Art Center’s requirements and comparable credits taken at another college. Awarding of studio credit, not Humanities and Sciences credits, determines the length of the program. For more information, see the “Academic Credits” section that follows.

International StudentsArt Center welcomes international students and the cultural diversity they bring to our campus. Art Center courses are conducted in English, and undergraduate applicants with a native language other than English may be asked to take the TOEFL or IELTS and must score at least 80 on the Internet-based TOEFL (iBT) or a 6.5 on the IELTS. Details are included in the Application Requirements section. For more information about programs and services for international students, please visit artcenter.edu.

VeteransArt Center is approved for veterans’ study under several GI bills, including the Yellow Ribbon program. Veterans should contact the Financial Aid Office at 626 396-2278 for information.

Special Non-Degree Student StatusArt Center occasionally admits students to its Special Status program. The program is intended for students who have had significant work and educational experience. These students are allowed to attend Art Center classes for up to three terms on a non-degree basis. The Special Status program is available at both the undergraduate and graduate level, and for students with or without a prior college degree. Special Status students pay the current full-time tuition rate. To qualify, students must show an advanced level portfolio for one major. They must meet the same admissions requirements as degree program candidates, complete the admissions procedure for undergraduate or graduate students, as applicable, and check off “Special Student Status” on the application form. Students cannot normally transfer to the degree program once enrolled as non-degree students. Special Status students are generally not eligible for financial aid or scholarships.

Academic CreditsTransfer Credit

A maximum of 60 units of studio and academic credits may be transferred from another accredited institution. Art Center recognizes two types of trans-fer credit: credit for studio art classes, and credit for Humanities and Sciences (liberal arts) classes. Receipt of studio transfer credit, not Humanities and Sciences credit, determines the length of a student’s 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 colleges—Middle 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 Sciences classes based on an official score of 4 or 5 from Educational Testing

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

164


Services (ETS). Art Center does not offer studio art credit for AP classes or College Level Examination Program (CLEP) exams. Up to 12 credits may be offered based on professional work experience. All studio and Humanities and Sciences transfer credit must be finalized by the end of a student’s first term at Art Center. New transfer credit will not be accepted after the student has enrolled in the degree program. It is the student’s 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 CreditStudio 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 admis-sion. 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 student’s program will be shortened only if one or more terms of studio transfer credit is awarded. The number of Humanities and 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 Center’s 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 Sciences CreditWhile specific required Humanities and Sciences courses within your major must generally be taken through the Art Center degree program, a number of elective units may be fulfilled through transfer credit. These vary by major. Art Center requires a specific distribution of Humanities and Sciences courses for graduation. Credits accepted for transfer must fall into these categories: Humanities, Social Science, Science and Technology, and Business and Professional Practices. Credit is transferable for Humanities and Sciences courses taken at another accredited college in which a grade of “C” or better for electives and “B” or better for required courses has been achieved. For a detailed description of eligible transfer credit by category, visit the Admissions section of artcenter.edu.

Arrival and HousingWe hope that you will call on the Center for the Student Experience 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 driver’s license and get accustomed to Pasadena. While Art Center does not offer on-campus hous-ing, the Center for Student Experience coordinates information regarding local housing and roommate options on the housing website at offcampushousing. artcenter.edu. This resource lists 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. Students are also invited into a private Facebook community to connect with future classmates.

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 of the term to students who have submitted their tuition deposit. Students will prepare for their Art Center experi-ence by receiving valuable information on campus life, academic expectations and policies; they’ll 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.

Tuition and Fees Tuition

Art Center’s Fall 2014, Spring 2015 and Summer 2015 undergraduate tuition is $18,665 per term. Each term’s tuition covers a full-time program (12–19 units). For current tuition rates, contact the Admissions Office. Tuition is due 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 installment charge and can submit your tuition in three installments.


165

Universal Access FeeA $250 fee is charged each semester to all students for access to Art Center labs and shops. Fees are subject to change and are refundable on the same schedule as tuition.

Living Expenses and SuppliesArt Center does not currently offer dormitories, and living costs vary greatly based on the type of housing the student chooses. However, we estimate a gener-ous average amount for rent and food per term to be $6,700 for students not living at home. Students should allow an average of $1,800 for personal expenses, $1,400 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, individual instructors provide students lists of necessary supplies.

Art Center Student Health Insurance

All enrolled Art Center students are automatically covered by a student health insurance policy upon registration. This benefit and service to students is provided at no additional charge.

Financial AidWe encourage all students who need financial as-sistance to apply for aid. Applying for financial aid in no way affects your admissions decision.

Application Procedure1 For a financial aid brochure that outlines the

various financial aid opportunities, call the Admissions Office at 626 396-2373 or visit 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. No aid, including scholarships, can be offered to U.S. students without the FAFSA.

3 International students do not need to file any financial aid forms. They will be reviewed upon acceptance.

Financial Aid and ScholarshipsFinancial Aid for U.S. Students

Submit the FAFSA in January, if possible, regardless of the term for which you are applying, to be con-sidered for all forms of aid, including scholarships. 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. The Cal Grant, for students who attended high school in California, has a FAFSA and grade point verification deadline of March 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.

Scholarships for U.S. and International Students

Art Center’s 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. We do not offer merit-only scholarships. We suggest that applicants for entering scholarships submit their application for admission, transcripts, test scores, portfolio and FAFSA (U.S. students only) by the dates listed below for priority consideration. International students submit admissions materials only.

Priority Scholarship DatesSummer term: January 15

Fall term: February 15 Spring term: October 1

Notification of Scholarship Awards Accepted applicants who meet the priority dates will be notified by:

Summer term: March 1 Fall term: April 1

Spring term: November 15

If you miss these priority dates, scholarship funds may still be granted on an as-available basis, and other forms of aid, such as Federal Stafford Loans and Federal Pell Grants, may be available as well. Applicants will be notified of scholarship awards on a rolling basis at the time of admission. For assistance in applying for financial aid, contact the Financial Aid Office at 626 396-2215.

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

166


Academic InformationTerms/Semester System

Art Center offers three full terms (semesters) each year: Fall, Spring and Summer. Each term is 15 weeks.

Course LoadDegree programs are full time only, requiring a course load of between 12 and 19 units per term. Permission must be obtained to drop 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. Entering students cannot start their studies with an Art Center Lite term. Graduation from Art Center is based upon successful completion of the cur-riculum 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.

SchedulesClass 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 a.m. to 4 p.m. Other classes are from 8 a.m. to 1 p.m. and from 2 to 7 p.m. Some classes are scheduled in the evening and on Saturdays. Humanities and Sciences classes normally meet at 1, 4 or 7 p.m. on weekdays and oc-casionally on Saturdays. Independent-study courses are available by special permission.

Change of MajorOnce 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.

Awarding of DegreesTo 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.

Graduation RatesThe Student Right-to-Know Act mandates that all institutions disclose their graduation rates. In 2013, the six-year graduation rate for first-time under-graduate students who entered in the fall of 2007 was 64 percent. This information does not include transfer, exchange or special non-degree students. The graduation rate for all entering students for this same period was 64 percent. For further information, call Enrollment Services at 626 396-2316.

Other Policies Family Education Rights and

Privacy Act (FERPA)Art Center complies with the Family Education Rights and Privacy Act (FERPA) and its accompany-ing regulations, which afford students certain rights with respect to their education records. To view the complete FERPA policy, please visit artcenter.edu.

Nondiscrimination PolicyArt Center has a longstanding commitment to promoting equal opportunities, and will not engage in any unlawful discrimination based on race, color, sex, gender identity, gender expression, religion, age, national origin, ancestry, sexual orientation, marital status, medical condition, physical or mental disability, military or veteran status, genetic infor-mation, or any other basis prohibited by law.

Disability PolicyArt 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 par-ticipation in the services, programs and activities of the College. For further information about how Art Center is able to accommodate students with disabilities, please visit artcenter.edu.

Clery Act and Student Right-to-Know Act

Art Center complies with the Jeanne Clery Disclosure of Campus Security Policy and Campus Crime Statistics Act (“Clery Act”), as well as with the Student Right-to-Know and Campus Security Act, along with the accompanying regulations. Information on compliance is available from the Director of Environmental Health and Safety.


167

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 comprehensive and updated look at academic information, visit artcenter.edu.

Academic Calendar 2014

Fall TermSeptember 2–5: OrientationSeptember 6: Classes begin

November 11: Veterans Day holidayNovember 27–30: Thanksgiving holiday

December 13: Classes end

2015Spring Term

January 6–9: OrientationJanuary 10: Classes begin

January 19: Martin Luther King, Jr. holidayApril 18: Classes end

Summer TermMay 5–8: OrientationMay 9: Classes begin

May 25: Memorial Day holidayJuly 3: Independence Day holiday (observed)

August 15: Classes end

Fall TermSeptember 1–4: OrientationSeptember 5: Classes begin

November 11: Veterans Day holidayNovember 26–29: Thanksgiving holiday

December 12: Classes end

2016Spring Term

January 12–15: OrientationJanuary 16: Classes begin

January 18: Martin Luther King, Jr. holidayApril 23: Classes end

Summer TermMay 10–13: Orientation May 14: Classes begin

May 30: Memorial Day holidayJuly 4: Independence Day holiday

August 20: Classes end

ARTC

ENTE

R.ED

UAR

T CE

NTER

COL

LEGE

OF

DESI

GN 2

015–

2016

168


At a GlanceYear founded

1930

AffiliationPrivate, nonprofit institution

Undergraduate applications acceptedSpring, Summer and Fall for most majors

Terms (semesters)

Three 15-week terms per year

Undergraduate enrollment1,767

(50% men, 50% women)

Undergraduate enrollment by programAdvertising: 72

Entertainment Design: 109Environmental Design: 75

Film: 92Fine Art: 73

Graphic Design: 263Illustration: 555

Interaction Design: 18Photography and Imaging: 138

Product Design: 161Transportation Design: 186

Average student / faculty ratio9 : 1

Figures above reflect Fall 2013 data.

Average age of entering undergraduate students

Fall entry: 20.9 years oldAll entry terms: 22.5 years old

Average age of all undergraduate students

23.3 years old

Undergraduate students from other countries

25% (representing 43 countries)

Undergraduate entering students from other states

20%

Undergraduate students who receive financial aid

70% (Art Center administers more than

$14.4 million in scholarships to undergraduate students per year.)

Number of undergraduate faculty100 full-time, 301 part-time

Undergraduate students who complete their degrees within 6+ years

64%

Average job-placement rate one year after graduation

92% (based on alumni-survey responses of 40%)

Art Center College of Design™ is accredited by the WASC Senior College and University Commission (WSCUC), and by the National Association of Schools of Art and Design (NASAD).

Access to Art Center’s accreditation report is available through the Center for Educational Effectiveness.

WSCUC 985 Atlantic Avenue, Suite 100, Alameda, CA 94501 510 748-9001

NASAD 11250 Roger Bacon Drive, Suite 21, Reston VA 20190 703 437-0700 40

50 |

40M

| 09

14

Colophon

Published by the Department of Marketing and Communications

Chairman of the Board of Trustees: Robert C. Davidson, Jr.President: Lorne M. BuchmanSenior Vice President, Admissions and Enrollment Management: Kit BaronProvost: Fred FehlauVice President, Marketing and Communications: Jered Gold

Design team

Creative Director: Scott TaylorArt Director: Winnie Li (BFA 92)Designers: Eliana Dominguez (BFA 06), Winnie LiDirector of Production: Ellie EisnerProduction Designer: Audrey Krauss

Editorial team

Editorial Director: Sylvia SukopSenior Writer: Mike WinderContributing writers: Alex Carswell, Lynne HeffleyCopyeditor: Kathy BarretoEditorial assistance: Teri Bond, Aamina Ganser, Anna Macaulay, Kat Salerno, Christine Spines

Photography

Photographer: Stella Kalinina (BFA 13)Additional photography: Alex Aristei, Chad Blockley, Libero “Tony” Di

Zinno, John Dlugolecki, Four Eyes Photography, Erin Audry Hoffstetter, Patrick Kim, Lucia Loiso, Juan Posada, Michelle Pullman, Chuck Spangler, Vanessa Stump, Sylvia Sukop, Steven Swintek, Jennie Warren, Dice Yamaguchi

Photo credits/copyright: Pages 6, 12, 41, 43: © Steven A. Heller/Art

Center College of Design; Page 16, top: © Can Stock Photo Inc. / tobkatrina; Page 16, below left: John Hicks/Corbis; Page 16, below right: ©Chris Burden, photo © Museum Associates/LACMA; Page 17, top left: The Gamble House, Pasadena, CA, Photo © Mark Fiennes/Bridgeman Images; Page 17, right: Courtesy of Pasadena Museum of California Art; Page 145: Courtesy of IDEO.org

Fonts: Brown (Lineto), Atlas Typewriter (Commercial)Paper: Domtar Cougar Cover and Text, FSC and Rainforest Alliance Certi-

fied, 10% post-consumer, Process Chlorine Free fiber; Endurance Gloss Book, FSC certified; Neenah Paper Astrobrights Text, FSC Certified Mixed Sources

Printer: Clear Image Printing Co.

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 sup-port and contributions to this View-book.

Art Center faculty respond quickly to changes in technology and innova-tions within specific design disciplines; please consult our website for updated information regarding Programs of Study.

© 2014 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.

Art Center College of Design1700 Lida Street, Pasadena, CA 91103 626 396-2200 artcenter.edu

Index

Academic programs, undergraduate Advertising 46–55 Entertainment Design 56–65 Environmental Design 66–75 Film 76–85 Fine Art 86–95 Graphic Design 96–105 Illustration 106–115 Interaction Design 116–125 Photography and Imaging 126– 135 Product Design 136–145 Transportation Design 146–155Admissions 156–167 Choice of major 157 Counseling appointments 157 Deadlines and notifications 162Advertising 46–55 Program of Study 54Application requirements 158–162 Arrival and housing 164Art Center at a Glance 168Art Center at Night 159Artmatters Concentration 31Calendar, academic 167Career development 18–27Course load 166Deadlines, application 162 Deferrals 162Degrees offered 8–9, 157Designmatters Concentration 28–36Disability policy 166Entertainment Design 56–65 Program of Study 64Environmental Design 66–75 Program of Study 74Family Education Rights and Privacy Act 166Fees 164Film 76–85 Program of Study 84Financial aid 165 Deadlines 165Fine Art 86–95 Program of Study 94Graduate studies 9 artcenter.edu/gradGraduation rates 166Grants 165Graphic Design 96–105 Program of Study 104Health insurance 165Housing 164Humanities and Sciences 8, 44, 157, 164

Illustration 106–115 Program of Study 114Integrated Studies 40, 157Interaction Design 116–125 Program of Study 124International students 163Internships 24Living expenses 165Loans 165Nondiscrimination policy 166Orientation 164Photography and Imaging 126–135 Program of Study 134Portfolio requirements 159–162 Portfolio return 161–162Product Design 136–145 Program of Study 144Public Programs 159Readmission 163Saturday High 159 Scholarships 165Special Non-Degree Student Status 163Student experience 4–17Studio art credit 164Study away 22–23TOEFL 158, 163Tours, campus 157Transfer students 163Transportation Design 146–155 Program of Study 154Tuition 162, 164 Deposit 162Veterans 163Work study 165

artcenter.edu/viewbook

art center college of design undergraduate viewbook

Documents

design students

art center education

transportation design

product design

interaction design

entertainment design

art centers

fine art