art center college of design viewbook

ART CENTER COLLEGE OF DESIGN / 2011–2012 ARTCENTER.EDU

ART CENTER COLLEGE OF DESIGN / 2011–2012

Art Center invites you to learn more about our programs and the type of work our students create by using QR Codes found throughout this Viewbook. To access the information, scan the QR Code using an appropriate reader on your smartphone. If your phone doesn’t already have one, we recommend installing 3GVision’s i-nigma reader at i-nigma.mobi or the BeeTagg reader at beetagg.com. Don’t have a smartphone? We’ve compiled a directory of these QR Codes on our website at artcenter.edu/qrcodes.

Art Center College of Design™ is accredited by the Western Association of Schools and Colleges (WASC), 985 Atlantic Avenue, Suite 100, Alameda, California, 94501, 510.748.9001; and by the National Association of Schools of Art and Design (NASAD), 11250 Roger Bacon Drive, Suite 21, Reston, Virginia 20190-5248, 703.437.0700. Access to Art Center’s accreditation report is available through the Office of Academic Affairs.

Publisher’s Note:Please note that course descriptions, faculty bios and our online application form can be accessed online at artcenter.edu.


ARTCENTER.EDU

Contents ART CENTER COLLEGE OF DESIGN / 2011–2012Contents ART CENTER COLLEGE OF DESIGN / 2011–2012

President’s Message

Introduction

Why Los Angeles?

Advertising

Entertainment Design

Environmental Design

Film

Fine Art

Graphic Design

Illustration

Photography and Imaging

Product Design

Transportation Design

Undergraduate Alumni

Graduate Programs

Graduate Art

Graduate Broadcast Cinema

Graduate Industrial Design

Graduate Media Design

Graduate Alumni

Humanities and Design Sciences

Integrated Studies

Designmatters

Public Programs

Admissions

Facilities and Resources

2010–2012 Calendar

Index

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025035045055065075085095105115125

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Welcome to an extraordinary opportunity. For 80 years, Art Center College of Design has been considered the most rigorous and creatively challenging art and design institution, both nationally and internationally. Our at-titude is professional. Our expectations are high. If you are serious about pursuing a world-class art and design education, if you seek faculty mentors who are the finest experts in their fields, if you aspire to build a career based on the highest standards of professionalism and skill—then Art Center could very well be the place for you.

At Art Center, you will find a creative home, a commu-nity that will support your gifts and challenge you to grow through deep thought and dialogue. Issues resonant with a 21st century global perspective will inform your work. Our programs are centered on you and your development but also on being in and of the world—and on making a difference. Serving human need, the environment, or sim-ply creating work that is unabashedly beautiful—these are our core values.

Part of the Art Center experience is also about our location in Los Angeles—not just the home of a booming entertainment industry but also a complex and fascinat-ing area in which to live. In addition to being an intensely beautiful place, the Los Angeles area offers a diverse creative community, deep cultural life, and it continues to be a place for “pioneers”—those more interested in the future than the past. It’s a great place to be a student.

Our alumni the world over sing the same refrain: An Art Center education will change your life. There’s never been a time, moreover, of greater demand for visual communi-cators, makers and storytellers. I am certain that the best of these will come from Art Center.

I invite you to join us.

Lorne M. Buchman President


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005 President’s ART CENTER COLLEGE OF DESIGN / 2011–2012President’s ART CENTER COLLEGE OF DESIGN / 2011–2012

MessageMessage

To be an artist or designer is more than a career

choice. It is a way of thinking and living. The experi-

ences we create, the stories we tell, the products we

build, the problems we solve, even the materials we

use—these all make an impact and have the power to

change lives. Today’s global challenges call for people

with ingenuity, integrity and creative vision, not to

mention the technical skill to craft effective solutions.

Art Center College of Design exists to educate the

artists and designers who will fill these needs.

Eighty years ago, we were founded by a group of indi-

viduals who believed in the power of connecting “art

to industry.” They created a school where ambitious

students studied a demanding curriculum that pre-

pared them for the creative industries. Then, as now,

Art Center was steadfast in the belief that this edu-

cation should be substantive and comprehensive—

a way of looking at things in the biggest possible way.

We aim to cultivate the complete creative individual.


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Art and design don’t exist in a vacuum. At Art Center,

we view the education of artists and designers as a

holistic endeavor, where students go beyond pure

aesthetics and technical expertise to think critically,

intelligently and humanely about their practice and

its effects on others.

Our undergraduate, graduate and Public Programs—

all remarkably diverse in their areas of emphasis,

methods of teaching and curricula—stress this core

sensibility while pushing students to create meaning-

ful work. The fruits of their labor attract considerable

attention, and our alumni are sought after by some

of the world’s most influential studios, galleries,

organizations and companies.

Our campus is a magnet for prominent designers,

artists, thinkers and scholars. Students learn from

a faculty of more than 400 instructors—filmmakers,

photographers, painters, sculptors, illustrators and

designers of every discipline—who directly engage

008 ART CENTER COLLEGE OF DESIGN / 2011–2012

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with the demands of today’s creative environment

and bring their knowledge, professional connections

and independent thinking into our studios and class-

rooms. Students also have access to a distinguished

array of guest lecturers and visiting artists.1

Art Center students tackle real-world challenges and

are quick to reimagine the status quo. Their determi-

nation and infectious creative energy are felt as soon

as you step onto either our Hillside or South Campus.

With leading-edge facilities and resources available

to do everything from plein air painting to rapid 3D

prototyping, students can create virtually anything

they can conceive.2

As with most, if not all, creative communities, Art

Center is home to many deeply held perspectives and

opinions—sometimes in opposition to one another—

and our faculty is no exception. Expect to encounter

a wealth of challenging (and lively) discussions and

debates.3 All faculty members share a determination

1. Our Big Picture Lecture Series, for example, attracts influential thinkers from

2. Many students begin their journey through the College’s Public Programs

around the world to discuss emerging cultural and political currents shaping

such as Saturday High or Art Center at Night, where they can explore the

art and design, as well as science, technology and philosophy.

creative disciplines and build relevant skills.


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to help students grow intellectually and socially, as

well as in their studio practice.

To help make this happen, our studios and classrooms

are incubators for creativity and big ideas, inhabited

by students and faculty who share a commitment

and willingness to work hard. A steady emphasis on

inquiry, research and risk-taking enables students

to develop and refine their artistic voice or design

sensibilities. Related liberal arts courses through our

Humanities and Design Sciences Department further

enrich this process. The emphasis on making remains

a central focus, and students enjoy a full range of

resources at their disposal.4

Class size is kept small, enabling students to develop

connections with their classmates as well as creative

and mentoring relationships with their teachers.

These ties often extend beyond the classroom and

into professional life.

3. Pie throwing contests occur on the third Tuesday of each month.

4. These include letter-press, printmaking and fine art studios, photo labs and

film / photography stages, fabrication shops (including 3D Rapid Prototyping), and

an exploration laboratory emphasizing colors, mate-rials and trends (CMTEL).

For a more complete list, see pages 208–210.


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Our approach combines the visionary with the prac-

tical, the ideal with reality. Classes, projects and

even our academic calendar simulate the pace and

demands of a professional work environment.5 Since

our graduates must be prepared for a world where

change is the norm, our educational philosophy em-

phasizes a curriculum that is rigorous and relevant.

Students focus on a declared major from the very

first day of classes with hands-on challenges and

experiences, thus bypassing the typical “foundation

year” structure found at most other art and design

schools.6 Design firms and studios from around the

world, including Apple, Electronic Arts, Pentagram

and BMW Designworks, recognize the value of this

approach and recruit students for internships and job

openings.7 Our course content is based on the insider

knowledge of our faculty, whose deep connections

to their respective fields allow them to anticipate

trends in the creative and business environments.

This, in turn, contributes to an entrepreneurial spirit 5. Our year-round sched-ule, for example, enables students to select an ac-

celerated course of study that allows them to gradu-ate in less than three years.

6. The intense concentra-tion on a major—more than 30 credits—allows

students to fully explore and perfect their discipline.

7. Visit artcenter.edu/internships for the most up-to-date listing.


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8. Recent educational partners include American Red Cross, Bernhardt, LG,

Johnson & Johnson, Ford, Nestle, United Nations Children’s Fund (UNICEF),

Volvo, Hewlett Packard and NASA.

on campus, where a culture of problem seeking, in

addition to problem solving, is the goal.

The creative environment today increasingly requires

artists and designers from discrete disciplines to

work together. Our Transdisciplinary Studios (TDS)

address this shift by giving upper-term students and

faculty from different majors opportunities to colla-

borate on projects. A TDS might bring Film, Fine Art

and Photography students together to investigate

varying representations of the natural environment,

while another might challenge Advertising, Graphic

Design and Graduate Media Design students to create

a multimedia branding and communications strategy.

Whatever the project, our cross-disciplinary approach

spurs new ways of thinking. Often, these studios

are sponsored by industry partners—from major

automakers to entertainment studios to nonprofits8—

giving students opportunities to engage specific fields

while being mentored by leaders in art and design.


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Our programs challenge students to consider the

ethical dimensions of their practice as they prepare

to enter the contemporary art and design arenas.

Through Designmatters, a College-wide educational

initiative and concentration in the curriculum,

students can explore responsible business practices

and the potential for art and design to be harnessed

for social impact.9 Partnerships with nonprofits and

governmental organizations like Doctors Without

Borders, UNESCO and Architecture for Humanity

give students opportunities to address some of the

most pressing humanitarian and social challenges

of our time.10

Our programs also consider the sum total of form,

function and sustainability. In the classroom, for

example, we offer academic and studio courses like

Design for Sustainability that are open to all majors,

where students are introduced to sustainability as

a component of a comprehensive design process.11

9. Art and design should have a conscience.

10. Innovative solutions developed by students include low-cost

prototypes for Chileans living in campamentos and multimedia campaigns

readying Californians for the next big earthquake. Learn more on pages 184–185.

11. Beyond the classroom, student groups like Eco-Council and Mustard

promote sustainable practices on campus and helped shape the College’s

Zero-Waste Initiative.


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In addition, students are challenged to weigh the

meaning of images in our image-intensive culture

while considering the changing landscape of media

and technology.

As the world’s ideas, languages and cultures become

more interconnected, our curriculum gives students

the opportunity to address design challenges and

explore artistic opportunities wherever and however

they occur. Our perspective is global in scope and

mindset. We have collaborative relationships with

universities, organizations and governments abroad.

Recently our students’ studies have taken them to

London, Germany, China, France, Mexico, Singapore

and Tokyo. Our programs attract many international

students, and our location in the greater L.A. region

places us at a crossroads of global culture.

We understand that choosing your educational in-

stitution is one of the most important decisions you

will ever make. Not only will it influence how you


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learn, experiment and grow as an artist or designer,

but it will also shape the kind of human being you

ultimately become. At Art Center, we foster a learning

environment that will challenge you to fulfill your

creative promise. In the process, you will become

part of a creative community that values substance

over style, while building lasting relationships with

fellow students and faculty—your future colleagues.


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Left: Santa Monica Beach.Right: Frank Gehry’s Walt Disney Concert Hall.

As one went to Europe to see the living past, so one must visit Southern California to observe the future.

Alison LuriePulitzer Prize-winning novelist


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One of the world’s most innovative and culturally diverse metropolitan areas, Los Angeles is a great place to study art and design. In addition to its obvious physical beauty, L.A. is home to a concentration of creative minds and industries (from entertainment to automotive to design studios), a thriving art scene (some 350 galleries) and one of the nation’s strongest academic clusters (including Caltech, UCLA, the Claremont Colleges and USC). Maybe it’s the sunshine, but L.A.’s reputation as a place that welcomes new ideas and experimentation attracts people from around the world. Anything is possible here. And in fact, L.A. is home to such revolutionary ideas as the Internet, Hot Wheels, the modern bathing suit, the Space Shuttle, the fortune cookie and the Aeron chair. L.A.’s entrepreneurial culture is like no other in the world.

Located just 10 miles from downtown L.A., Pasadena is a creative community in its own right—home to design studios and an impressive collection of art and cultural institutions including the Norton Simon Museum; the Huntington Library, Art Collection & Botanical Gardens; the Armory Center for the Arts; the Pacific Asia Museum; as well as world-renowned centers for science and aero-space like Caltech and NASA’s Jet Propulsion Laboratory. Its variety of neighborhoods and architecture, from turn of the century to contemporary, provide a great housing resource for our students. The City’s pedestrian-friendly downtown, Old Pasadena, is lined with cafes, restaurants, shops and living spaces. Many Art Center students and alumni choose to live and launch their own studios and businesses here.

WhyWhyLos AngelesLos Angeles?


ARTCENTER.EDUARTCENTER.EDU/ADVERTISING

Advertising ART CENTER COLLEGE OF DESIGN / 2011–2012Advertising ART CENTER COLLEGE OF DESIGN / 2011–2012AdvertisingAdvertising

Good advertising elicits an emotion. Great advertising is more like a first date that ends up in a long-term relationship.

James WojtowiczInterim Chair

In the last decade, advertising has transformed from a one-way communication platform that transpires across a few select media, to a two-way exchange that can instantaneously explode over countless media. While advertising methods may be in flux, one thing remains constant—the need for brands to connect with audiences on a basic human level. At Art Center, Advertising students are equipped with the knowledge of traditional forms of advertising while learning the latest advancements in new media—all while solving problems in extraordinarily creative ways.

In foundation classes, our students become fluent in the languages of advertising, including film, online video, digital photography, graphic and interactive design, social media and digital engagement. In later terms, students apply their skills to develop advertising campaigns, integrating traditional and non-traditional media to create powerful forms of communication.

Our classes are taught by leading art directors and copywriters who not only understand where advertising has been, but who are helping to shape its future.

Founded in 1930, our Advertising program is the oldest in the country, and our list of alumni reads like a Who’s Who of the industry. Students work alongside product designers, filmmakers, interactive designers and more to develop new ways of thinking and explore how these disciplines inform and inspire one another.

Nestled between the entertainment capital of the world and Silicon Valley, our location allows students to experience tectonic paradigm shifts moments after they happen.

Also setting us apart are our connections to the professional world and our commitment to working in a socially conscientious way. Through Transdisciplinary Studios, “The Agency” and Designmatters, Advertising majors collaborate as they produce campaigns for real clients, many of which address the social, humanitarian and political causes that are most important to them.

GREATER L.A.

WHY LOS ANGELES?HOME TO MAJOR AND BOUTIQUE AD AGENCIES LIKE M&C SAATCHI, DAVID AND GOLIATH, DEUTSCH, WONGDOODY,MCCANN-ERICKSON, TBWA/CHIAT/DAY, AND 72 AND SUNNY.

WHY LOS ANGELES?LOS ANGELES HAS A WELL-ESTABLISHED COMMERCIAL PRODUC-TION INFRASTRUCTURE AND IS A PRIME GLOBAL GATEWAY FOR EMERGING TECHNOLOGY AND TRENDS.

ADVERTISING FACULTY

Core FacultyCore FacultyPatrick AlmaguerFelipe BascopeEnzo Cesario Lou DanzigerGary HuertaBlake KidderDennis LeeJohn LoperErik Miller Mikio OsakiFaria RajiElena SalijNel SantGerard SeifertPaul SoadyKoji TakaiBarry TaylorLee TirceScott WilsonJames Wojtowicz, Interim Chair

VISIT US ON FLICKRTINYURL.COM/2FS3QE2


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Advertising ART CENTER COLLEGE OF DESIGN / 2011–2012Advertising ART CENTER COLLEGE OF DESIGN / 2011–2012AdvertisingAdvertising

Good advertising elicits an emotion. Great advertising is more like a first date that ends up in a long-term relationship.

James WojtowiczInterim Chair

In the last decade, advertising has transformed from a one-way communication platform that transpires across a few select media, to a two-way exchange that can instantaneously explode over countless media. While advertising methods may be in flux, one thing remains constant—the need for brands to connect with audiences on a basic human level. At Art Center, Advertising students are equipped with the knowledge of traditional forms of advertising while learning the latest advancements in new media—all while solving problems in extraordinarily creative ways.

In foundation classes, our students become fluent in the languages of advertising, including film, online video, digital photography, graphic and interactive design, social media and digital engagement. In later terms, students apply their skills to develop advertising campaigns, integrating traditional and non-traditional media to create powerful forms of communication.

Our classes are taught by leading art directors and copywriters who not only understand where advertising has been, but who are helping to shape its future.

Founded in 1930, our Advertising program is the oldest in the country, and our list of alumni reads like a Who’s Who of the industry. Students work alongside product designers, filmmakers, interactive designers and more to develop new ways of thinking and explore how these disciplines inform and inspire one another.

Nestled between the entertainment capital of the world and Silicon Valley, our location allows students to experience tectonic paradigm shifts moments after they happen.

Also setting us apart are our connections to the professional world and our commitment to working in a socially conscientious way. Through Transdisciplinary Studios, “The Agency” and Designmatters, Advertising majors collaborate as they produce campaigns for real clients, many of which address the social, humanitarian and political causes that are most important to them.

026 ADVERTISING

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1STUDENTMAX WANGTERMFOURTHTITLE“SIX FLAGS SUPERMAN THE ESCAPE”PRINT ADCLASSADVERTISING CONCEPTS 2INSTRUCTORJOHN LOPEZ


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2STUDENTSEUAN AU &MINDY BENNERTERMFIFTHTITLE“DISCOVERY CHANNEL”CLASSADVERTISING LAB 1INSTRUCTORSBLAKE KIDDER & PATRICK ALMAGUER

3STUDENTDAVID STYLERTERMSIXTHTITLE“TORO CORDLESS TRIMMERS”AMBIENT ADCLASSADVERTISINGCONCEPTS 3INSTRUCTORSCOTT WILSON

2

3

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4STUDENTLAUREN COFFINTERMFIFTHTITLE“METAMUCIL”PRINT ADCLASSADVERTISING LAB 1INSTRUCTORSCOTT WILSONPHOTOGRAPHYRILEY KERN

4



5 STUDENTERIK GONZALEZTERMFIRSTTITLE“SCHOTT ZWIESELUNBREAKABLE CRYSTAL”PRINT ADCLASSCOMM DESIGN 1INSTRUCTORLOU DANZIGER

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6STUDENTDAWN KIMTERMFIFTHTITLE“CHIPOTLE RESTAURANT” PRINT ADCLASSADVERTISING LAB 2INSTRUCTORDENNIS LEE



7STUDENTJOHN FERRALTERMFOURTHTITLE“BUDGET GOURMET”CLASSADVERTISING CONCEPTS 1INSTRUCTORJOHN LOPER

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CourseRequirementsRequirements

TERM 4 PRP-229 Branding Strategies 3 GPK-302 Graphic Design 2 3 ADT-251 Advertising Concepts 2 3 ADT-253 Intro to Copywriting 3 ADT-254 TV Concepts and Design 3 ADT-250 4th Term Review 0

TERM 5 ADT-303 Integrated Advertising 3 GPK-201 Type 3: Context 3 ADT-301 Advertising Concepts 3 3

TERM 6 ADT-375 Integrated AD 2: Digital 3 ADT-376 Integrated AD 3:

Non-Traditional 3 ADT-371 Advertising Concepts 4 3 ADT-352 Advanced Copy Concepts 3 ADT-350 6th Term Review 0

TERM 7 * ADT-452 Portfolio Studio 3 ADT-431 Advertising Concepts 5 3

TERM 8 *ADT-471 Advertising Concepts 6 3

Additional required elective units in Humanities and Design Sciences:Human Electives 6Culture Electives 6Material Environment Electives 9Professional Practice Electives 6Studio Elective Units 12 Total Required Units 135

* Studio electives will be added to schedule to meet studio requirements.

TERM 1 HMN-100 Writing Studio ORHMN-101 Writing Studio Intensive 3 CUL-203 Hist of Advertising 3 FND-102 Design 1 GPK / ILL / ADT 3 FND-109 Communication Design 1 3 FND-111 Type 1: Adv Graphics 3

TERM 2 PRP-200 Art of Research 3 FND-152 Design 2: Structure &

Color ORFND-158 Materials of Art & Design 3 GPK-151 Type 2: Structure 3 ADT-152 Art Direction 1 3 ADT-203 Visual Concepts 3 ADT-302 Copy Concepts 3 ADT-150 2nd Term Review 0

TERM 3 CUL-220 Intro to Modernism 3 CUL-235 Critical Practices 3 GPK-202 Graphic Design 1 3 ADT-252 Art Direction 2 3 ADT-201 Advertising Concepts 1 3 FND-108 Basics of Photo 3

ART CENTER COLLEGE OF DESIGN / 2011-2012033


ONE OF MY INSTRUCTORS TOLD ME, “GOOD ADVER-TISING IS NOT WHAT YOU PUT IN, IT’S WHAT YOU TAKE OUT.” THAT ONE SENTENCE CHANGED MY WHOLE PERSPECTIVE.

MAX WANGTERM 4



StudentVoicesVoices

ONE OF MY INSTRUCTORS TOLD ME, “GOOD ADVER-TISING IS NOT WHAT YOU PUT IN, IT’S WHAT YOU TAKE OUT.” THAT ONE SENTENCE CHANGED MY WHOLE PERSPECTIVE.

MAX WANGTERM 4

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ADVERTISING034

I’VE ALWAYS LIKED TO MAKE RIDICU-LOUS THINGS, WHETHER IT’S A GIANT SCULPTURE OF RAINN WILSON’S HEAD OR AN OIL PORTRAIT OF RAPPER SOULJA BOY. I JUST LOVE COMING UP WITH FUNNY IDEAS. IF I CAN MAKE PEOPLE LAUGH, I’M HAPPY.

WHEN I FIRST MOVED TO L.A., I STARTED WORKING ON COMMERCIALS. FOR ONE SHOOT, I BURIED A GUY IN “CEMENT” MADE FROM OATMEAL. THAT TYPE OF HANDS-ON WORK WAS GREAT, BUT ONE DAY IT HIT ME THAT I SHOULD BE COMING UP WITH THE IDEAS.

WHEN I VISITED ART CENTER, I KNEW THIS WAS WHERE I WANTED TO BE. THERE ARE ONLY NINE STUDENTS IN MY CLASS, BUT FOR SUCH A SMALL GROUP WE HAVE INCREDIBLE VARIETY. THE FACULTY HERE ARE OPEN-MINDED AND EASY TO TALK TO. THERE’S A MUTUAL RESPECT AND THEY HOLD YOU UP TO A HIGHER STANDARD.

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Entertainment ART CENTER COLLEGE OF DESIGN / 2011–2012Entertainment ART CENTER COLLEGE OF DESIGN / 2011–2012

DesignDesignDesign

Entertainment Design is at the very heart of the visual experience of TV shows, films, commercials, video games, animation projects and theme parks.

Designing new worlds, characters and objects that have never before been seen requires great imagination, but also an understanding of how things are built—and how to communicate with the people who will build these new worlds.

At Art Center, our Entertainment Design curriculum develops the skills and creative focus required of concept designers in the entertainment industry.

Our department is relatively new, but Art Center alumni are leaders in the fields of animation, video games, film and television. Many work in the nearby hubs of those industries and bring their expertise into our classrooms as faculty and visiting lecturers.

During their first four terms, students receive a rigorous education in drawing, rendering, model building and sculpting, as well as an introduction to 3D digital tools. The program concludes with a senior project focused on an area of particular artistic and professional interest.

In years past, Art Center students seeking a career in entertain-ment design took a combination of Illustration and Industrial Design classes in order to develop their skills and portfolio. Today, our Entertainment Design program incorporates and expands upon the strengths of both of these disciplines.

Our students also have the opportunity to collaborate with col-leagues from other College departments through Transdisciplinary Studios and Designmatters projects, where they apply their skills for commercial and nonprofit causes.

GREATER L.A.

WHY LOS ANGELES?ELECTRONIC ARTS, ACTIVISION BLIZZARD, THQ AND SONY ONLINE ENTERTAINMENT ALL HAVE STUDIOS IN THE AREA.

WHY LOS ANGELES?1923: THE WALT DISNEY COMPANY BEGINS IN THE REAR OF A SMALL OFFICE OCCUPIED BY HOLLY-VERMONT REALTY IN LOS ANGELES.

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ENTERTAINMENT DESIGN FACULTY

Core FacultyCore FacultyChris Ayers Fridolin Beisert Thomas Bertling Reynaldo Bustos Kevin Chen Ricardo Delgado Scott Drake Mark Goerner Patrick Hanenberger Chris Howe Robert Kato Richard Keyes Hong Ly Paul Lasaine Luc Mayrand Gary Meyer Emil Mitev Nicholas Pugh Christian Schellewald Christian Scheurer Farzad Varahramyan Michael Yamada

VISIT US ON FLICKRTINYURL.COM/32RMKMA


ARTCENTER.EDU/ENTERTAINMENT

Entertainment ART CENTER COLLEGE OF DESIGN / 2011–2012Entertainment ART CENTER COLLEGE OF DESIGN / 2011–2012

DesignDesignDesign

Entertainment Design is at the very heart of the visual experience of TV shows, films, commercials, video games, animation projects and theme parks.

Designing new worlds, characters and objects that have never before been seen requires great imagination, but also an understanding of how things are built—and how to communicate with the people who will build these new worlds.

At Art Center, our Entertainment Design curriculum develops the skills and creative focus required of concept designers in the entertainment industry.

Our department is relatively new, but Art Center alumni are leaders in the fields of animation, video games, film and television. Many work in the nearby hubs of those industries and bring their expertise into our classrooms as faculty and visiting lecturers.

During their first four terms, students receive a rigorous education in drawing, rendering, model building and sculpting, as well as an introduction to 3D digital tools. The program concludes with a senior project focused on an area of particular artistic and professional interest.

In years past, Art Center students seeking a career in entertain-ment design took a combination of Illustration and Industrial Design classes in order to develop their skills and portfolio. Today, our Entertainment Design program incorporates and expands upon the strengths of both of these disciplines.

Our students also have the opportunity to collaborate with col-leagues from other College departments through Transdisciplinary Studios and Designmatters projects, where they apply their skills for commercial and nonprofit causes.

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1STUDENTDANNY GARDNERTERMFOURTHTITLE“STREET SWEEPER”CLASSVISCOM 4INSTRUCTORSCOTT ROBERTSON

11



2STUDENTANNIS NAEEMTERMFOURTHTITLE“RACER”CLASSVISCOM 4INSTRUCTORSCOTT ROBERTSON

2

038

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3STUDENTALBERT NGTERMSIXTHTITLE“WHITE’S PLAYROOM”CLASSARCHITECTURE 2INSTRUCTORSFARZAD VARAHRAMYAN & LUC MAYRAND

3



4STUDENTJOHN PARKTERMSIXTHTITLE“CALL OF DUTY”CLASSARCHITECTURE 2INSTRUCTORSFARZAD VARAHRAMYAN & LUC MAYRAND

4

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5STUDENTROBERT SIMONSTERMFOURTHTITLE“BIONICLE”CLASSVISCOM 4INSTRUCTORSCOTT ROBERTSON

5



6STUDENTLIANNA TAITERMSIXTHTITLE“FOREST CREATURE”CLASSCHARACTER 2INSTRUCTORCHRIS AYERS

6

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ENTERTAINMENT DESIGNCourseRequirementsRequirements

TERM 4 ENT–203 Analytical Figure Drawing 3 ENT–259 Digital Landscape 3 ENT–251 Vis Comm 4: Advanced

Material Indication 3 ENT–254 Costume Design 3 CUL–325 History of Entertainment

Design 3

TERM 5 ENT–320 Vis Comm 5: Rendering 3 ENT–310 Character Design 1 3 ENT–312 Architecture Design 1 3 ENT–306 Color Theory for

Entertainment 3 HMN–321 Narrative Strategies 3 MAT–205 Theory of Structure 3

TERM 6 ENT–364 Vis Comm 6:

Dramatic Narrative 3 ENT–367 Character Design 2 3 ENT–366 Architecture Design 2 3 ENT–356 Visual Development 3 HMN–202 Human Factors & Design

Psychology 3 ENT–350 6th Term Review 0

TERM 7ENT–400 Vis Comm 7: Speed &

Advanced Rendering Techniques 3

ENT–402 Vehicles and Props 3 ENT–409 Visual Storytelling 3ENT–406 Originality in Design 3 PRP–203 Business 101 3

TERM 8 * Studio Elective 2

ENT–450 Advanced EntertainmentDesign 3

ENT–471 Entertainment Senior Project 3

Additional required elective units in Humanities and Design Sciences:Human Electives 3Culture Electives 3 Material Environment Electives 9 Professional Practice Electives 6 Total Required Units 144


TERM 1 ENT–105 Design Process 1:

Form & Space 3 ENT–112 Design Fundamentals 1 3 ENT–102 Vis Comm

Fundamentals 1 3 ENT–103 3D Fundamentals 1 3 ENT–100 Study Models 2 ENT–114 Way Things Work 2HMN–100 Writing Studio ORHMN–101 Writing Studio Intensive 3

TERM 2 ENT–100 Digital Design 1 3 ENT–165 Design Fundamentals 2 3 ENT–151 Design Process 2 3 ENT–152 Vis Comm

Fundamentals 2 3 ENT–153 3D Fundamentals 2 3 PRP–200 Art of Research OR PRP–201 Art of Research 3

TERM 3 ENT–206 Advanced Perspective 3 ENT–202 Vis Comm 3:

Photoshop Rendering 3ENT–201 Creative ID Process 3 ENT–207 Imaginatomy 3 CUL–220 Intro to Modernism 3 ENT–200 3rd Term Review 0



043

I USED TO BELIEVE THAT ARTISTIC TALENT COULD NOT BE TAUGHT; IT WAS SOMETHING YOU ARE BORN WITH. AFTER ATTENDING ART CENTER, I NOW KNOW THAT ISN’T ENTIRELY TRUE. THERE IS A LOT OF LEARNING AND DEVELOPING TO BE DONE HERE IF YOU PUT YOUR MIND TO IT.

ELAD TIBITERM 8



043 StudentVoicesVoices

I USED TO BELIEVE THAT ARTISTIC TALENT COULD NOT BE TAUGHT; IT WAS SOMETHING YOU ARE BORN WITH. AFTER ATTENDING ART CENTER, I NOW KNOW THAT ISN’T ENTIRELY TRUE. THERE IS A LOT OF LEARNING AND DEVELOPING TO BE DONE HERE IF YOU PUT YOUR MIND TO IT.

ELAD TIBITERM 8

ARTCENTER.EDU

ENTERTAINMENT DESIGN044

I CHOSE ENTERTAINMENT DESIGN BECAUSE IT’S THE THINKING SIDE OF DESIGN; IT’S MORE ABOUT COMING UP WITH THE IDEAS THAN THE FINISHED PRODUCT. ENTERTAINMENT DESIGNERS MUST DEVELOP A SOLID IDEA, BUT ALSO BE ABLE TO MESH THAT IDEA WITH ANY OTHER WORK THAT HAS ALREADY GONE INTO A PROJECT. I WANT MY IDEAS TO TAKE ME SOMEWHERE, MAKING A WAY FOR MY ART. I’D LIKE TO BE THE PERSON WHO DESIGNS THE LOOK AND FEEL OF A STORY, NOT SOMEONE WHO CARRIES ON ANOTHER’S LEGACY. I KNEW ENTERTAINMENT DESIGN WAS FOR ME BECAUSE IT COINCIDES WELL WITH MY DESIRE TO CREATE A VIDEO GAME AND AN ENTIRE WORLD TO GO ALONG WITH IT.

REBECCA BLAKETERM 4

ARTCENTER.EDU



REBECCA BLAKETERM 4


ARTCENTER.EDU

Environmental ART CENTER COLLEGE OF DESIGN / 2011–2012Environmental ART CENTER COLLEGE OF DESIGN / 2011–2012

DesignDesignDesign

Art Center’s Environmental Design Department focuses on the design of the total spatial experience—from the first moment of encounter to the last moment of interaction. We believe that the strength of a project’s message is based on the power of the story content and context that it defines, the interaction it creates, and the emotional interface that it accomplishes.

Environmental Design students learn to look at projects as complete emotional experiences. They learn to consider the whole as well as the parts—not just the chair.

We approach design from the inside out. By understanding the emotional outcome or need, we are able to craft a stronger message to drive the context of the project. Our students tackle a broad spec-trum of projects including: branded retail sites, theme restaurants, exhibition design and residential spaces. We focus on delivering effective, inclusive environments using sustainable materials and manufacturing practices.

Environmental Design students develop a global sense of design that investigates where and how people live, work and play—as well as a passion for designing not just what goes inside the box, but rethinking where and why the box exists.

They explore new ways to blend technology and humanity to enhance ergonomics, simplify use and create emotional impact. Projects vary in scale from a single piece of furniture to a complete experience.

Through Transdisciplinary Studios, often sponsored by corporate clients, and Designmatters projects on behalf of humanitarian orga-nizations, our students are able to apply their skills for commercial and nonprofit causes.

We intend to show that by having a strong grasp of design history, an astute awareness of present design trends and a long gaze to the future, environmental designers can contribute to the way in which future design interfaces, supports and drives our culture.

Environmental Design is a human-centered discipline that is focused on the design of a user’s total experience. We span the creative environ-ment between spatial, object and emotional communication.

David MocarskiDepartment Chair

GREATER L.A.

WHY LOS ANGELES?THE CITY INCLUDES NUMEROUS ARCHITEC-TURAL TREASURES FROM THE LIKES OF FRANK LLOYD WRIGHT, R. M. SCHINDLER, FRANK GEHRY, RICHARD MEIER, JOHN LAUTHNER AND RICHARD NEUTRA.

WHY LOS ANGELES?HOME TO CUTTING EDGE ARCHITECTURAL AND FURNITURE DESIGN STUDIOS INCLUDING GREG LYNN, CORY GROSSER DESIGN, DAVID HERTZ, BALL-NOGUES,MARMOL RADZINER, RIOS CLEMENTI HALE STUDIOS AND SAMI HAYEK DESIGN.

ARTCENTER.EDU



REBECCA BLAKETERM 4

ARTCENTER.EDU

044


REBECCA BLAKETERM 4

ENVIRONMENTAL DESIGN FACULTY

Core FacultyCore FacultyRob BallDaniel GottliebPenny HerscovitchJames MerazEmil MertzelDavid Mocarski, Chair

FacultyFacultyJulka AlmquistAnia BorysiewiczCody ClarkSusan ClarkFrank ClementiGloria FowlerCory GrosserSami HayekOliver HessSherry HoffmanBob HuntBenjamin LuddyAli ModarresYo OshimaJason PilarskiJennifer Silbert

VIEW MORE STUDENT WORKTINYURL.COM/2A9YNSY


ARTCENTER.EDU/ENVL

Environmental ART CENTER COLLEGE OF DESIGN / 2011–2012Environmental ART CENTER COLLEGE OF DESIGN / 2011–2012

DesignDesignDesign

Art Center’s Environmental Design Department focuses on the design of the total spatial experience—from the first moment of encounter to the last moment of interaction. We believe that the strength of a project’s message is based on the power of the story content and context that it defines, the interaction it creates, and the emotional interface that it accomplishes.

Environmental Design students learn to look at projects as complete emotional experiences. They learn to consider the whole as well as the parts—not just the chair.

We approach design from the inside out. By understanding the emotional outcome or need, we are able to craft a stronger message to drive the context of the project. Our students tackle a broad spec-trum of projects including: branded retail sites, theme restaurants, exhibition design and residential spaces. We focus on delivering effective, inclusive environments using sustainable materials and manufacturing practices.

Environmental Design students develop a global sense of design that investigates where and how people live, work and play—as well as a passion for designing not just what goes inside the box, but rethinking where and why the box exists.

They explore new ways to blend technology and humanity to enhance ergonomics, simplify use and create emotional impact. Projects vary in scale from a single piece of furniture to a complete experience.

Through Transdisciplinary Studios, often sponsored by corporate clients, and Designmatters projects on behalf of humanitarian orga-nizations, our students are able to apply their skills for commercial and nonprofit causes.

We intend to show that by having a strong grasp of design history, an astute awareness of present design trends and a long gaze to the future, environmental designers can contribute to the way in which future design interfaces, supports and drives our culture.

Environmental Design is a human-centered discipline that is focused on the design of a user’s total experience. We span the creative environ-ment between spatial, object and emotional communication.

David MocarskiDepartment Chair

046

ARTCENTER.EDU

ENVIRONMENTAL DESIGN

1STUDENTLAWRENCE KIM TERMTHIRDTITLE“MAMMATUS”CLASSENVIRONMENTAL DESIGN 3INSTRUCTORCARLOS FERREIRA

1


ARTCENTER.EDU/ENVL

2STUDENTSSNOW DONG, MALEK IDRISS, TIM MEYER & JAMIE KIMTERMEIGHTH TITLE“SENIOR SHOW INSTALLATION SUMMER 2010”CLASSSENIOR STUDIO & PORTFOLIO PRESENTATIONINSTRUCTORSJAMES MERAZ, ROB BALL & GLORIA FOWLER

3STUDENTLAWRENCE KIMTERMSECONDTITLE“ACTIVE INGREDIENT”CLASSENVIRONMENTAL DESIGN 2INSTRUCTORSPENNY HERSCOVITCH & DAN GOTTLIEB

3

2

048

ARTCENTER.EDU


4STUDENTINIMFON ARCHIBONGTERMSIXTH TITLE“SWIRL”CLASSCOOL STOOLS TOPIC STUDIOINSTRUCTORSDAVID MOCARSKI & CORY GROSSER

5STUDENTSNOW DONGTERMEIGHTH TITLE“STEP-LINK”CLASSSENIOR STUDIO & PORTFOLIO PRESENTATIONINSTRUCTORSJAMES MERAZ & GLORIA FOWLER 4

5


ARTCENTER.EDU/ENVL

6STUDENTSHAEWON KIM, J. KIM & BOHEE PARKTERMFIFTH TITLE“MASS TRANSPORT 2”CLASSSUSTAINABILITY STUDIOINSTRUCTORJAMES MERAZ

6

050

ARTCENTER.EDU


7STUDENTTIM MEYER TERMEIGHTH TITLE“JILBE INN”CLASSSENIOR STUDIO & PORTFOLIO PRESENTATIONINSTRUCTORSJAMES MERAZ, ROB BALL & GLORIA FOWLER

7


ARTCENTER.EDU/ENVL

8STUDENTLEIGH ANNE KOBETERMFIFTH TITLE“TOWER ZERO”CLASSSUSTAINABILITY STUDIOINSTRUCTORJAMES MERAZ

9STUDENTJEREMY TAYLORTERMSECOND TITLE“REX”CLASSENVIRONMENTAL DESIGN 2INSTRUCTORSPENNY HERSCOVITCH & DAN GOTTLIEB

8

9

052

ARTCENTER.EDU

ENVIRONMENTAL DESIGNCourseRequirementsRequirements

TERM 4 ENV-252 Environmental Design 4 3 ENV-253 Structure Interior Arch 3 ENV-271 Design Lab 4 3 ENV-251 Digital Process 4 3MAT-205 Theory of Structure 3 HMN-202 Human Factors &

Design Psych 3 ENV-250 4th Term Review 0

TERM 5 ENV-254 Sustainability Studio 3 ENV-302 Portfolio Studio 3 TDS Transdisciplinary Studio 3 MAT-313 Design for Sustainability 3 CUL-341 History & Theory of

Space 2 3 ENV-310 Topic Studio 3

TERM 6 * ENV-352 Experience Design 3 ENV-310 Topic Studio 3 ENV-311 Digital Process 5 3

TERM 7 ENV-404 Degree Project:

Development 3 ENV-310 Topic Studio 6 TDS Transdisciplinary Studio 3

TERM 8 * ENV-453 Degree Project: Studio 3 ENV-452 Portfolio & Presentation 3

Additional required elective units in Humanities and Design Sciences:Human Electives 3 Culture Electives 3 Material Environment Electives 6 Professional Practice Electives 3Studio Elective Units 12 Total Required Units 144


TERM 1 ENV-102 Environmental Design 1 3ENV-101 Digital Process 1 3ENV-235 Visual Communication 1 3ENV-103 Design Lab 1 3ENV-104 Materials and Making 3HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3

TERM 2 ENV-152 Environmental Design 2 3 ENV-151 Digital Process 2 3ENV-265 Visual Communication 2 3 ENV-153 Design Lab 2 3 PRP-229 Branding Strategies 3 PRP-201 Art of Research OR PRP-200 Art of Research 3

TERM 3 ENV-202 Environmental Design 3 3 ENV-201 Digital Process 3 3ENV-203 Design Lab 3 3CUL-220 Intro to Modernism 3 MAT-203 Illumination: Lighting 3 CUL-206 History & Theory of

Space 3


ARTCENTER.EDU/ENVL

053

I BELIEVE THAT THE DESIGN PROCESS NEVER TRULY STOPS. THERE IS ALWAYS ROOM FOR GROWTH AND IMPROVEMENT. EVEN AFTER A SPACE OR PRODUCT IS COMPLETED, IT IS THEN LEFT TO THE USER TO CONTINUE THE NARRATIVE AND FUNCTION.

OLIVIA PADENTERM 8


ARTCENTER.EDU/ENVL


I BELIEVE THAT THE DESIGN PROCESS NEVER TRULY STOPS. THERE IS ALWAYS ROOM FOR GROWTH AND IMPROVEMENT. EVEN AFTER A SPACE OR PRODUCT IS COMPLETED, IT IS THEN LEFT TO THE USER TO CONTINUE THE NARRATIVE AND FUNCTION.

OLIVIA PADENTERM 8

ARTCENTER.EDU

ENVIRONMENTAL DESIGN054

I INITIALLY CAME TO ART CENTER THINKING THAT I WOULD BECOME THIS AMAZING ILLUS-TRATOR. I SOON REALIZED THAT MY CALLING WAS ACTUALLY IN THREE-DIMENSIONAL DESIGN, AND EXPLORING HOW TO PLAY WITHIN THAT SPACE. AFTER REALIZING THIS, I WAS NO LONGER LIMITED TO A PIECE OF PAPER WITH A DEFINED FRONT AND A BACK. I IMMEDIATELY CHANGED MY MAJOR TO ENVIRONMENTAL DESIGN. SINCE THEN, I’VE HAD A TREMENDOUS EXPERI-ENCE OF RAPID PERSONAL GROWTH. I HAVE LEARNED SO MUCH IN SUCH A SHORT AMOUNT OF TIME. I’VE FALLEN IN LOVE WITH GRAPHIC DESIGN, ENVIRONMENTAL DESIGN AND MULTIPLE FORMS OF ILLUSTRATION. I’VE GROWN TO UNDERSTAND THE IDEA OF PROFESSIONALISM, WHICH IS OFTEN EASIER SAID THAN DONE. ART CENTER HAS TAUGHT ME TO BE PUNCTUAL, PROFESSIONAL, INNOVATIVE AND ESSENTIALLY A LEADER IN DESIGN.

LAWRENCE KIMTERM 4

ARTCENTER.EDU



LAWRENCE KIMTERM 4


ARTCENTER.EDU

Art Center educates filmmak-ers in both the technological and narrative skills of motion pictures—whether they’re aimed for the theater screen, an iPod screen or anything in between.

Ross LaMannaDepartment Chair

In a rapidly changing entertainment industry, emerging filmmakers must be daring, entrepreneurial and dedicated. Above all, they must be visual storytellers.

Every aspect of Art Center’s Film curriculum focuses on the mas- tery of movie-making skills in order to serve the narrative. Located minutes from Disney, Warner Bros., NBC Universal, ABC, Paramount and the Burbank Media District, our department enjoys an unusually high percentage of accomplished filmmakers on our faculty roster. Students begin shooting immediately, with access to HD, 16mm, 35mm and the latest digital post-production tools.

Class sizes are small, fostering close, mentoring relationships between instructor and student. We host several guest lectures by studio heads and A-list filmmakers each term.

Students specialize in one of three tracks—cinematography, directing or editing—and frequently collaborate with students from other disciplines.

Our architecturally striking campus, on a wooded hillside above Pasadena’s Rose Bowl, is an ideal place for location shooting. We have private editing suites, surround-sound recording and mixing studios, multi-computer labs available 24 hours, a 5,000-square-foot stage with a cyclorama and green-screen digital compositing equipment.

Our program imparts a thorough understanding of the entire filmmaking process, giving our students the skills and confidence to succeed, whether they go on to work for the studios and networks, independently or in emerging media.

FilmGREATER L.A.

WHY LOS ANGELES?SIX MAJOR MOTION PICTURE STUDIOS CALL L.A. HOME—PARAMOUNT PICTURES, SONY, 20TH CENTURY FOX, WARNER BROTHERS, UNIVERSAL PICTURES AND WALT DISNEY STUDIOS—PLUS COUNTLESS INDEPEN-DENT PRODUCERS.

WHY LOS ANGELES?EVEN IN THESE CHALLENGING ECONOMIC TIMES, LOS ANGELES REMAINS THE ENTER-TAINMENT CAPITAL OF THE WORLD, WITH THE LARGEST NUMBER OF SHOW BUSINESS JOBS RIGHT HERE IN SOUTHERN CALIFORNIA.

ARTCENTER.EDU



LAWRENCE KIMTERM 4

ARTCENTER.EDU

054

I INITIALLY CAME TO ART CENTER THINKING THAT I WOULD BECOME THIS AMAZING ILLUSTRATOR. I SOON REALIZED THAT MY CALLING WAS ACTUALLY IN THREE-DIMENSIONAL DESIGN, AND EXPLORING HOW TO PLAY WITHIN THAT SPACE. AFTER REALIZING THIS, I WAS NO LONGER LIMITED TO A PIECE OF PAPER WITH A DEFINED FRONT AND A BACK. I IMMEDIATELY CHANGED MY MAJOR TO ENVIRONMENTAL DESIGN. SINCE THEN, I’VE HAD A TREMENDOUS EXPERIENCE OF RAPID PERSONAL GROWTH. I HAVE LEARNED SO MUCH IN SUCH A SHORT AMOUNT OF TIME. I’VE FALLEN IN LOVE WITH GRAPHIC DESIGN, ENVIRONMENTAL DESIGN AND MULTIPLE FORMS OF ILLUSTRATION. I’VE GROWN TO UNDERSTAND THE IDEA OF PROFESSIONALISM, WHICH IS OFTEN EASIER SAID THAN DONE. ART CENTER HAS TAUGHT ME TO BE PUNCTUAL, PROFESSIONAL, INNOVATIVE AND ESSENTIALLY A LEADER IN DESIGN.

LAWRENCE KIMTERM 4

FILM FACULTY

Core FacultyCore FacultyAffonso Beato, ASC, ABC Stephen Berkman Monte Bramer Brian CarterJohn Chambers Jeremiah Chechik Dean Cundey, ASC Allen Daviau, ASC Doug Eboch Michael Gottlieb Andrew Harlow Howard Heard Victoria Hochberg David Kellogg Ross LaManna, ChairMatt LaPoint Jonas Mayaab Dennis McCarthy Senator Michaels Kelley MicudaNatalija Nogulich Stephanie Nash Ron Osborn Dan Perri Richard Pearce Earl Rath, ASC Charles RoseLee Rosenbaum, Esq. Brad Saunders Eric Sherman Karl Shields Aaron Sowd Ming Tai Ron Underwood Billy Weber

VIEW AWARD-WINNING FILMSVIMEO.COM/13707478


ARTCENTER.EDU/FILM

Art Center educates filmmak-ers in both the technological and narrative skills of motion pictures—whether they’re aimed for the theater screen, an iPod screen or anything in between.

Ross LaMannaDepartment Chair

In a rapidly changing entertainment industry, emerging filmmakers must be daring, entrepreneurial and dedicated. Above all, they must be visual storytellers.

Every aspect of Art Center’s Film curriculum focuses on the mas- tery of movie-making skills in order to serve the narrative. Located minutes from Disney, Warner Bros., NBC Universal, ABC, Paramount and the Burbank Media District, our department enjoys an unusually high percentage of accomplished filmmakers on our faculty roster. Students begin shooting immediately, with access to HD, 16mm, 35mm and the latest digital post-production tools.

Class sizes are small, fostering close, mentoring relationships between instructor and student. We host several guest lectures by studio heads and A-list filmmakers each term.

Students specialize in one of three tracks—cinematography, directing or editing—and frequently collaborate with students from other disciplines.

Our architecturally striking campus, on a wooded hillside above Pasadena’s Rose Bowl, is an ideal place for location shooting. We have private editing suites, surround-sound recording and mixing studios, multi-computer labs available 24 hours, a 5,000-square-foot stage with a cyclorama and green-screen digital compositing equipment.

Our program imparts a thorough understanding of the entire filmmaking process, giving our students the skills and confidence to succeed, whether they go on to work for the studios and networks, independently or in emerging media.

Film

056

ARTCENTER.EDU

FILM

1INSTRUCTOR ALLEN DAVIAU, ASC, & ART CENTER FILM STUDENT SEAN NALABOFF ON SET OF A CLASS PRODUCTION.

2AN ART CENTER FILM STUDENT MIXES HER PROJECT IN ONE OF OUR 10 PRIVATE EDITING SUITES.

3ART CENTER FILM STUDENTS PREP A SHOT ON FILM STAGE 2.

1

2

3


ARTCENTER.EDU/FILM

4STUDENTS:DIRECTORTOM LEEPRODUCERROMSON NIEGA CINEMATOGRAPHERJEREMY M. LUNDBORGSOUND DESIGNDAN BARTOLUCCITITLE“GATORADE COMMERCIAL”CLASSCINEMATOGRAPHY 5INSTRUCTORAFFONSO BEATO, ASC

5STUDENTS:DIRECTORDARINE HOTAITCINEMATOGRAPHERCHRIS SAULTITLE“THE FAR SIDE OF LAUGHTER”CLASSFILM WORKSHOP 2INSTRUCTORERIC SHERMAN

4

5

058

ARTCENTER.EDU

FILM

6

6STUDENTS:DIRECTORCHRIS BUONGIORNOCINEMATOGRAPHYPARKER TOLIFSONPRODUCTION DESIGNERBRIAN THOMASBARNHARTTITLE“EMERGENCY BROADCAST—MECHANICAL HANDS ELECTRIC HEART”CLASSPORTFOLIO PRODUCTION —INDEPENDENT STUDYINSTRUCTORJEREMIAH CHECHIK

AWARDCOLLEGE TELEVISION EMMY AWARD


ARTCENTER.EDU/FILM

8

7

7STUDENT:DIRECTORAARON SJOGRENTITLE“UNTITLED”CLASSDIGITAL MOTION COMPOSITINGINSTRUCTORMING TAI

8STUDENT:VISUAL DESIGNAARON SJOGRENTITLE“FLIGHT SCHOOL”CLASSINDEPENDENT STUDYINSTRUCTORMARK TAKEUCHI

060

ARTCENTER.EDU

FILM

9STUDENTS:DIRECTORSAMAN KESHAVARZPRODUCERROMSON NIEGATITLE“CANON TRIGGER HAPPY”CLASSPSA/COMMERCIALINSTRUCTORSANDREW HARLOW & JONAS MAYABB

AWARDSCOLLEGE TELEVISION EMMY AWARD (1)GOLD ADDY AWARD (4)TELLY AWARDS (5)CLIO AWARDS (3)CANNES LIONS YOUNG DIRECTORS AWARDS (2)

10STUDENTS:DIRECTORSAMAN KESHAVARZPRODUCERFRANCIS POLLARAEDITORNATHAN TAMTITLE“LUV DELUXE”CLASSPORTFOLIO PRODUCTION—INDEPENDENT STUDYINSTRUCTORROSS LAMANNA

AWARDSFUTURE SHORTS SHORT FILM AWARD (3)SOUTH BY SOUTHWEST 2010 BEST MUSIC VIDEO AWARD (2)HAMMER MUSEUM HONORABLE MENTION (4)SAATCHI AND SAATCHI SHORTLIST (1)

9

10


ARTCENTER.EDU/FILM

11STUDENTS:DIRECTORMOSES VENEGASCINEMATOGRAPHERJEREMY M. LUNDBORGTITLE“TURN ON BILLIE MUSIC VIDEO”CLASSINDEPENDENT STUDY

12STUDENT:CINEMATOGRAPHERJEREMY M. LUNDBORGTITLE“SUNDAY” (FEATURE FILM)CLASSINDEPENDENT STUDY

13 STUDENTS:DIRECTORGEVORG KARAPETYANPRODUCERSFRANCIS POLLARA & ROMSON NIEGACINEMATOGRAPHERJEREMY M. LUNDBORGPRODUCTION DESIGNERJULIE CHENEDITORCJ MILLERSOUND DESIGNDAN BARTOLUCCITITLEADIDAS “RAIN”CLASSDIRECTING 3INSTRUCTORDAVID KELLOGG

13

12

11

062

ARTCENTER.EDU

FILMCourseCourseCourseRequirementsRequirementsRequirementsRequirementsRequirementsRequirementsRequirementsRequirementsRequirements

TERM 4 FIL-253 Film Directing 3 3 FIL-260 Lighting for

Cinematography 3 CUL-211 History of Cinema 1 OR CUL-212 History of Cinema 2 3 PRP-155 Business Affairs for

Filmmakers 3

TERM 5 * FIL-314 Cinematography

Master Class 3 FIL-318 Line Producing & Prof

Film Prod 3

TERM 6 * TDS Transdisciplinary Studio 3

TERM 7 * Electives

TERM 8 * Electives

Additional required elective units in Humanities and Design Sciences:Human Electives 9Culture Electives 6Material Environment Electives 9Professional Practice Electives 6Studio Elective Units 36Total Required Units 135

FILM—EDITING

TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3 CGR-107 Intro to Post Production 3 FIL-110 Cinematography 1:

Fund 1 3 FIL-006 CPR & First Aid

Certification 0 FND-101 Design 1 ORFND-103 Design 1 3 FND-108 Basics of Photo 3 FIL-153 Film Directing 1 ORFIL-155 Acting Workshop for

Directors 3

TERM 2 CUL-220 Intro to Modernism 3 FIL-154 Film Editing 1 3 FIL-156 Screenwriting 1 3 FIL-155 Acting Workshop for

Directors OR FIL-153 Film Directing 1 3


TERM 7 * Electives

TERM 8 * Electives


FILM—CINEMATOGRAPHY




Directors 3


Directors OR FIL-153 Film Directing 1 3 FIL-157 Cinematography 2:

Fund 2 3 FIL-205 Storyboarding for

Filmmakers 3

TERM 3 CUL-235 Critical Practice 1 3 FIL-203 Film Directing 2 3 FIL-208 Directing 2: Tech Training 0 FIL-210 Aesthetics of

Cinematography: Color & Comp 3

FIL-161 Cinematography TechTraining 3

FILM—DIRECTING




Directors 3


Directors OR FIL-153 Film Directing 1 3 FIL-157 Cinematography 2:

Fund 2 3 FIL-205 Storyboarding for

Filmmakers 3

TERM 3 CUL-235 Critical Practice 1 3 FIL-211 Screenwriting 2 3 FIL-203 Film Directing 2 3 FIL-208 Directing 2: Tech Training 0 FIL-204 Film Production Sound 3 FIL-254 Film Editing 2 3

TERM 4 FIL-256 Advanced Screening:

Scenes & Characters OR FIL-316 The Journey: Feature

Screenwriting 3 FIL-253 Film Directing 3 3 FIL-281 Post-Production Sound 3 CUL-211 History of Cinema 1 OR CUL-212 History of Cinema 2 3 PRP-155 Business Affairs for

Filmmakers 3

TERM 5 * FIL-316 The Journey: Feature

Screenwriting OR FIL-256 Advanced Screening:

Scenes & Characters 3FIL-317 Pitching 3 FIL-318 Line Producing & Prof

Film Prod 3

CGR-101 Digital Design 1 3 FIL-205 Storyboarding for

Filmmakers 3

TERM 3 CUL-235 Critical Practice 1 3 FIL-254 Film Editing 2 3 FIL-203 Film Directing 2 3 FIL-208 Directing 2: Tech Training 0 FIL-204 Film Production Sound 3

TERM 4 FIL-253 Film Directing 3 3 FIL-257 Film Editing 3:

Adv Film Editing 3 FIL-281 Post-Production Sound 3 CUL-211 History of Cinema 1 OR CUL-212 History of Cinema 2 3 PRP-155 Business Affairs for

Filmmakers 3

TERM 5 * FIL-318 Line Producing & Prof

Film Prod 3


TERM 7 * Electives

TERM 8 * Electives




ARTCENTER.EDU/FILM

063

ART CENTER’S FILM DEPARTMENT GIVES YOU THE TOOLS TO DO WHAT YOU WANT TO DO. THE COLLEGE IS FULL OF SERIOUS PEOPLE, AND I’M INSPIRED BY THE ENVIRONMENT.

SAMAN KESHAVARZTERM 7


ARTCENTER.EDU/FILM


ART CENTER’S FILM DEPARTMENT GIVES YOU THE TOOLS TO DO WHAT YOU WANT TO DO. THE COLLEGE IS FULL OF SERIOUS PEOPLE, AND I’M INSPIRED BY THE ENVIRONMENT.

SAMAN KESHAVARZTERM 7

ARTCENTER.EDU

FILM064

WORKING FOR MY FAMILY’S CONTAINER YARD BACK HOME IN TAIWAN, I FELT SO REMOVED FROM THE CREATIVE WORLD. I TOLD MY FAMILY, “IF I STAY HERE, MY LIFE WILL BE BLACK AND WHITE. IF I PURSUE SOMETHING I REALLY LOVE, IT WILL BE IN COLOR.”

MY INSPIRATION COMES FROM THE PEOPLE I MEET, THE THINGS I SEE, THE PLACES I GO AND THE EMOTIONS I FEEL. I BELIEVE FILM IS THE MOST POWERFUL MEDIUM, BECAUSE IT’S ALL ABOUT CON-NECTING WITH OTHERS. LETTING PEOPLE KNOW THAT THEY’RE NOT ALONE. I LOVE HEARING AN AUDIENCE RESPOND DURING A SCREENING.

THE FACULTY HERE ARE AMAZING. THEY FEEL LIKE FAMILY. I’VE EMAILED THEM AT TWO IN THE MORNING, SENT THEM SCREENPLAY DRAFTS THROUGHOUT THE WEEK AND EVEN CALLED THEM ON THANKSGIVING.

ANDREA OUTERM 5

ARTCENTER.EDU

FILM064




ANDREA OUTERM 5


ARTCENTER.EDU

Fine Art ART CENTER COLLEGE OF DESIGN / 2011–2012Fine Art ART CENTER COLLEGE OF DESIGN / 2011–2012

We live in an age when art’s purpose and meaning are regularly being challenged. Visual culture is global, values are often contradictory, technology is constantly advancing, the pace of change is accelerating and new forms of art are dissolving the boundaries between fine art, mass media, design, film and entertainment.

A meaningful art education needs to offer more than a rich understanding of art’s past triumphs; it needs to provide insight into this generation’s emerging values and question prevailing assumptions for art-making. At the same time, it should foster an environment of introspection and innovation. Fine art students at Art Center are encouraged to see art not only as an expressive pursuit, but as an intellectual inquiry capable of producing knowledge.

Artists make things. At Art Center, we teach our students the value of making things well. Our notable faculty are accomplished artists and scholars who share their insights and a dedication to inspire. And because we are a part of arguably the most vital and innovative design school in the country, our students have access to leading designers, sophisticated industrial shops, cutting-edge computer labs, a vast art library and an array of workshops not typically available to fine art students.

Our Core Fine Art Program emphasizes the creative, conceptual and technical growth of the individual artist through a comprehensive exploration of all genres—painting, photography, sculpture, per-formance, installation and experimental film/video. Two additional tracks—Fine Art Painting and Illustration and Fine Art Photography and Imaging—give students opportunities to focus their course of study on particular skills.

Art Center’s Fine Art program is designed to nurture each artist’s quest for self-discovery and visual intelligence. It is a journey in which the interplay of the eye, hand and mind release the wonder of the imagination.

Laurence DreibandDepartment Chair

GREATER L.A.

WHY LOS ANGELES?300+ MUSEUMS IN L.A. COUNTY, INCLUDING LOS ANGELES COUNTY MUSEUM OF ART, THE GETTY, THE MUSEUM OF CONTEMPORARY ART AND THE HAMMERMUSEUM.

WHY LOS ANGELES?183,000 TREES IN PASADENA, AND NEARBY WARM BEACHES AND SNOW-CAPPED MOUNTAINS.

ARTCENTER.EDU

FILM064




ANDREA OUTERM 5

ARTCENTER.EDU

064


MY INSPIRATION COMES FROM THE PEOPLE I MEET, THE THINGS I SEE, THE PLACES I GO AND THE EMOTIONS I FEEL. I BELIEVE FILM IS THE MOST POWERFUL MEDIUM, BECAUSE IT’S ALL ABOUT CONNECTING WITH OTHERS. LETTING PEOPLE KNOW THAT THEY’RE NOT ALONE. I LOVE HEARING AN AUDIENCE RESPOND DURING A SCREENING.


ANDREA OUTERM 5

FINE ART FACULTY

Core FacultyCore FacultyDavid Hullfish BaileyLaura CooperLaurence Dreiband, ChairAlexandra GrantKatie GrinnanKevin HanleyTom KnechtelTom LadukeJohn MilleiJean RasenbergerAnthony Zepeda

FacultyFacultyRosetta BrooksRebecca CampbellMason CooleyZoe CrosherLecia Dole-RecioM.A. GreensteinBruce HainleyPatrick HillMitchell KaneNicholas KersulisGary KornblauSoo KimJane McFaddenJamie McMurryAdam RossJan Tumlir

VISIT US ON FACEBOOKTINYURL.COM/39L3BSV


ARTCENTER.EDU/FINEART

Fine Art ART CENTER COLLEGE OF DESIGN / 2011–2012Fine Art ART CENTER COLLEGE OF DESIGN / 2011–2012

We live in an age when art’s purpose and meaning are regularly being challenged. Visual culture is global, values are often contradictory, technology is constantly advancing, the pace of change is accelerating and new forms of art are dissolving the boundaries between fine art, mass media, design, film and entertainment.

A meaningful art education needs to offer more than a rich understanding of art’s past triumphs; it needs to provide insight into this generation’s emerging values and question prevailing assumptions for art-making. At the same time, it should foster an environment of introspection and innovation. Fine art students at Art Center are encouraged to see art not only as an expressive pursuit, but as an intellectual inquiry capable of producing knowledge.

Artists make things. At Art Center, we teach our students the value of making things well. Our notable faculty are accomplished artists and scholars who share their insights and a dedication to inspire. And because we are a part of arguably the most vital and innovative design school in the country, our students have access to leading designers, sophisticated industrial shops, cutting-edge computer labs, a vast art library and an array of workshops not typically available to fine art students.

Our Core Fine Art Program emphasizes the creative, conceptual and technical growth of the individual artist through a comprehensive exploration of all genres—painting, photography, sculpture, per-formance, installation and experimental film/video. Two additional tracks—Fine Art Painting and Illustration and Fine Art Photography and Imaging—give students opportunities to focus their course of study on particular skills.

Art Center’s Fine Art program is designed to nurture each artist’s quest for self-discovery and visual intelligence. It is a journey in which the interplay of the eye, hand and mind release the wonder of the imagination.

Laurence DreibandDepartment Chair

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FINE ART

1STUDENTMICHAEL FLANIGANTERMSIXTHTITLE“THE 500 MOST FORGETTABLE MOMENTS OF 2009”CLASSSENIOR PROJECTSINSTRUCTORSKEVIN HANLEY &ALEXANDRA GRANT

2STUDENTMICHAEL FLANIGANTERMSIXTHTITLE“FATHER FIGURE,”PERSONAL PROJECTINSTRUCTORJOHN MILLEI

1

2



3 STUDENTSHANA DIMASETERMSIXTHTITLE“BEE NECKLACE”CLASSTDS: WILD CULTUREINSTRUCTORSLAURA COOPER &TOM KNECHTEL

3

“I believe it is increasingly crucial to be aware of our relationship with the environ-ment, our vulnerability and mortality. This piece deals with these ideas and also my interest in entropy and organic events, the contradictions of permanence and imper-manence and the history of adornment.” —Shana Dimase

(DETAIL)

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FINE ART

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5

4 (FOREGROUND)STUDENTBRANDON SMITHTERMEIGHTHTITLE“UNTITLED”CLASSSENIOR PROJECTSINSTRUCTORSKEVIN HANLEY &JOHN MILLEI

(BACKGROUND)STUDENTLISA PARKTERMEIGHTHTITLES(LT) “CAROLINE” (RT) “RODOLFO”CLASSESSENIOR PROJECT AND PRINTMAKING (INDEPENDENT STUDY)INSTRUCTORSANTHONY ZEPEDA, KEVIN HANLEY, TOM KNECHTEL &JAN TUMLIR

5STUDENTLISA MADONNATERMEIGHTHTITLE“LIGHTING IN THE DESERT MAKES GLASS”CLASSSENIOR PROJECTSINSTRUCTORSKEVIN HANLEY &JOHN MILLEI

“The scarcity of image in the piece allows the viewer to experience without extraneousnarrative elements, instead focusing on the phenomenological significance of both what is present and what is unseen. I am exposing the viewer to the anxiety existing within the landscape. I am asking him or her to negotiate the ambiguities of imagery and the directness of materiality that constitutes the event of perceiving the work.”—Lisa Madonna

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6STUDENTTHEODORA ALLENTERMEIGHTHTITLE“UNTITLED”CLASSSENIOR PROJECTINSTRUCTORSJOHN MILLEI, TOM KNECHTEL & TOM LADUKE

7STUDENTRICHARD CORALTERMSEVENTHTITLE“UNTITLED”CLASSPASSION FOR PAINTINGINSTRUCTORSLECIA DOLE-RECIO &KRISTEN CALABRESE

7

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8STUDENTEOWYN WILCOXTERMSEVENTHTITLE“MOTHER’S KITCHEN”CLASSSENIOR PROJECTSINSTRUCTORSALEXANDRA GRANT,KEVIN HANLEY &TOM KNECHTEL

8

“Painting bridges the inner world of memory and emotion and the external world of objects and images. Small paintings are by nature intimate, compressed, contained. They are scaled to the body and to the domestic space; well suited for individual, private contemplation. My paintings are windows into the life of the artist. I think of them as objects of longing, accessible only to the attentive eye.” —Eowyn Wilcox

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ARTCENTER.EDU

FINE ARTCourseRequirementsRequirements

ILL-171 Portraiture 3 far-200 Defining Your Work 3 FAR-451 Contemporary Issues 3

TERM 5 FAR-351 Studio Visits 1 3 HMN-324 Readings in Fine Art 3 ILL-325 Nude Body 3 TDS Transdisciplinary Studio 3 FAR-300 5th Term Review 3

TERM 6 * FAR-352 Dialogues with Visiting

Artists OR FAR-252 Visiting Artist

Workshop 1 3 HMN-327 Writing About Art 3FAR 403 Fine Art Seminar 3

TERM 7 * FAR-402 Senior Projects 1 3 PRP-411 Professional Practices 3

TERM 8 * FAR-452 Senior Projects 2 3 TDS Transdisciplinary Studio 3

Additional required elective units in Humanities and Design Sciences:Human Electives 3 Culture Electives 6 Material Environment Electives 9 Professional Practice Electives 3 Studio Elective Units 6Total Required Units 135

FINE ART—PHOTOGRAPHY AND IMAGING TRACK

TERM 1 HMN-100 Writing Studio ORHMN-101 Writing Studio Intensive 3 CGR-101 Digital Design 3 FAR-101 Rethinking Art 1 3FAR-305 One on One 1FND-103 Design 1 PHO / ENV / FAR 3 PHO-161 Imaging 1 3PHO-221 Advanced Photo

Processing 1 3

TERM 2 CUL-220 Intro to Modernism 3 PHO-222 Advanced Photo

Processing 2 3 PHO-160 Core Lighting 3 PHO-107 View Camera 3PHO-211 Imaging 2 3 FAR-202 Studio Practice 3FAR-305 One on One 1


TERM 8 *FAR-452 Senior Projects 2 3

Additional required elective units in Humanities and Design Sciences:Human Electives 3 Culture Electives 6Material Environment Electives 9 Professional Practice Electives 3 Studio Elective Units 15Total Required Units 135

FINE ART—PAINTING AND ILLUSTRATION TRACK

TERM 1 HMN-100 Writing Studio ORHMN-101 Writing Studio Intensive 3 FAR-101 Rethinking Art 3 FND-103 Design 1 PHO / ENV / FAR 3 FND-158 Materials: Art & Design 3 FND-113 Drawing Concepts 1 3 FAR-304 Painting Strategies 3FAR-305 One on One 1

TERM 2 CUL-220 Intro to Modernism 3 CGR-101 Digital Design 1 3 FND-152 Design 2 3 FND-153 Composition & Painting 3 FND-208 Composition & Drawing 3 FAR-202 Studio Practice 3 FAR-305 One on One 1

TERM 3 CUL-235 Critical Practice 1 3 FND-167 Head and Hands 3 FND-351 Drawing Concepts 2 OR ILL-305 Drawing for Illustration ORILL-204 Anatomical Figure

Drawing 3FAR-204 Art: Structure & Systems 3FND-155 Language of Moving

Image 3 FAR-305 One on One 1

TERM 4CUL-236 Critical Practice 2 3 CUL-207 History of Art 1 ORCUL-208 History of Art 2 OR CUL-209 History of Art 3 3 FAR-252 Visiting Artist Workshop 1

OR FAR-352 Dialogues with Visiting

Artists 3

FINE ART—CORE TRACK

TERM 1 HMN-100 Writing Studio ORHMN-101 Writing Studio Intensive 3 FAR-101 Rethinking Art 1 3 FND-103 Design 1 PHO / ENV / FAR 3 FND-113 Drawing Concepts 1 3 FND-158 Materials: Art & Design 3 FAR-304 Painting Strategies 3FAR-305 One on One 1

TERM 2 ARH-220 Intro to Modernism 3 CGR-101 Digital Design 1 3 FAR-152 Studies in Contemporary

Sculpture 3FND-152 Design 2: Structure

& Color 3 FAR-202 Studio Practice 3FAR-305 One on One 1

TERM 3CUL-235 Critical Practice 1 3 FND-154 Drawing as Process 3 FAR-253 Installation Concepts 3 FAR-204 Art: Structures &

Systems 3 FND-155 Language of the Moving

Image 1 3 FAR-305 One on One 1fnd-108 Basics of Photo 3

TERM 4 CUL-207 History of Art 1 ORCUL-208 History of Art 2 ORCUL-209 History of Art 3 3 CUL-236 Critical Practice 2 3 FAR-252 Visiting Artist Workshop

ORFAR-352 Dialogues with Visiting

Artists 3far-200 Defining Your Work 3 FAR-451 Contemporary Issues 3

TERM 5 HMN-324 Readings in Fine Art 3 FAR-351 Studio Visits 1 3 TDS Transdisciplinary Studio 3FAR-300 5th Term Review 3

TERM 6 * FAR-403 Fine Art Seminar 3 HMN-327 Writing About Art 3 FAR-352 Dialogues with Visiting

Artists OR FAR-252 Visiting Artist Workshop 3

TERM 3 CUL-235 Critical Practice 1 3 FAR-204 Art: Structures &

Systems 3FAR-305 One on One 1PHO-219 Imaging 3 3PHO-257 Color: Processing &

Printing 3

TERM 4 CUL-207 History of Art 1 OR CUL-208 History of Art 2 OR CUL-209 History of Art 3 3 FAR-252 Visiting Artist

Workshop 1 3 PHO-312 Design 2 / Color Theory 3far-200 Defining Your Work 3 Far-205 Art & Photography 3

TERM 5 FAR-300 5th Term Review 3TDS Transdisciplinary Studio 3PHO-201 Photoshop 2 3 HMN-324 Readings in Fine Art 3

TERM 6 FAR-351 Studio Visits 1 3 FAR-352 Dialogues with Visiting

Artists 3 FAR-403 Fine Art Seminar 3FAR-240 Given Time 3HMN-327 Writing About Art 3CUL-218 Hist of Photography 2 3


TERM 8 *FAR-452 Senior Projects 2 3 PHO-465 Best Practice 3

Additional required elective units in Humanities and Design Sciences:Culture Electives 3Material Environment Electives 9 Professional Practice Electives 3 Studio Elective Units 3Total Required Units 135




073

I TAKE MY WORK MUCH MORE SERIOUSLY SINCE COMING TO ART CENTER. I TREAT IT WITH A METICULOUSNESS AND COMMITMENT THAT I DIDN’T HAVE IN THE PAST. FOR THE FIRST TIME, I FEEL COMPLETELY SUPPORTED PURSUING A CAREER DOING WHAT I LOVE.

SHANA DIMASETERM 5




I TAKE MY WORK MUCH MORE SERIOUSLY SINCE COMING TO ART CENTER. I TREAT IT WITH A METICULOUSNESS AND COMMITMENT THAT I DIDN’T HAVE IN THE PAST. FOR THE FIRST TIME, I FEEL COMPLETELY SUPPORTED PURSUING A CAREER DOING WHAT I LOVE.

SHANA DIMASETERM 5

ARTCENTER.EDU

FINE ART074

BEFORE COMING TO ART CENTER, MY WORK WAS BASED ON ASSIGNMENTS GIVEN TO ME IN CLASS. SO IT WAS A LITTLE JARRING TO COME TO ART CENTER AND BE ASKED TO CREATE WORK FROM MY PERSONAL EXPERIENCES AND IDEAS. I SOON BECAME INTERESTED IN HOW OUR PERSONAL EXPERIENCES AFFECT THE WAY THAT WE VIEW AND UNDERSTAND THE WORLD. I’VE LEARNED THAT FINE ART ISN’T LIMITED TO DRAWING OR PAINT-ING. I LOVE THAT ABOUT THE FINE ART DEPARTMENT. FACULTY ENCOURAGE THE USE OF DIFFERENT MEDIA, WHICH I HADN’T TRIED BEFORE. EVERYTHING THAT I CREATE NOW IS DEPENDENT ON WHAT I’M TRYING TO COMMUNICATE, IN ADDITION TO WHAT MATERIALS I’M USING. TODAY, MY WORK IS NO LONGER JUST ASSIGNMENTS.

LISA MADONNATERM 8

ARTCENTER.EDU

FINE ART074


LISA MADONNATERM 8


ARTCENTER.EDU

Graphic ART CENTER COLLEGE OF DESIGN / 2011–2012Graphic ART CENTER COLLEGE OF DESIGN / 2011–2012GraphicGraphicDesignDesignDesign

Graphic Design has become more than ink on paper; it has left the page to conquer space, motion and interaction.

Nik HafermaasDepartment Chair

At Art Center, Graphic Design students learn to infuse words and images with life and meaning, whether they are creating motion graphics on the latest digital equipment, or setting type by hand in Art Center’s letterpress shop.

Our program begins with an accelerated education in the formal principles of design, aesthetics and craftsmanship, after which students may specialize in a single area of graphic design or continue to explore the full scope of communication design. This approach is consistently validated by the awards our students win in many of the nation’s top competitions.

Traditional manual skills, such as hand lettering and drawing, and sophisticated graphics software are part of the spectrum of tools available to today’s graphic designers. We challenge students to develop their design solutions while experimenting with a wide range of media, including product packaging, book and magazine layouts, interactive communication, 3D graphics, virtual environments and the creation of graphic identities and branded experiences.

Through Transdisciplinary Studios, often sponsored by corporate clients, and Designmatters projects on behalf of humanitarian organizations, our students apply their skills to commercial and nonprofit causes while collaborating with students from other majors. For example, our students recently designed new ways to engage the Millennial generation for NASA, through movies, print campaigns, environmental “interventions” and interactive solutions.

Our Graphic Design education is rounded off with courses on design history and pop culture, the language of the moving image and design research.

By learning to create solutions that are innovative, coherent, artistic and engaging, we prepare students to become leaders in communication design—whether they plan to join an established firm or launch a studio of their own.

GREATER L.A.

WHY LOS ANGELES?ONE OUT OF EVERY SIX LOS ANGELES RESIDENTS WORKS IN THE CREATIVE INDUSTRY—ARTISTS, DESIGNERS, WRITERS, MUSICIANS, DANCERS,FILMMAKERS AND ACTORS.

WHY LOS ANGELES?ON AVERAGE, 329 DAYS OF SUNSHINE PER YEAR.

ARTCENTER.EDU

FINE ART074


LISA MADONNATERM 8

ARTCENTER.EDUARTCENTER.EDU

074074

BEFORE COMING TO ART CENTER, MY BEFORE COMING TO ART CENTER, MY WORK WAS BASED ON ASSIGNMENTS GIVEN WORK WAS BASED ON ASSIGNMENTS GIVEN TO ME IN CLASS. SO IT WAS A LITTLE TO ME IN CLASS. SO IT WAS A LITTLE JARRING TO COME TO ART CENTER AND JARRING TO COME TO ART CENTER AND BE ASKED TO CREATE WORK FROM MY BE ASKED TO CREATE WORK FROM MY PERSONAL EXPERIENCES AND IDEAS. PERSONAL EXPERIENCES AND IDEAS. I SOON BECAME INTERESTED IN HOW OUR I SOON BECAME INTERESTED IN HOW OUR PERSONAL EXPERIENCES AFFECT THE WAY PERSONAL EXPERIENCES AFFECT THE WAY THAT WE VIEW AND UNDERSTAND THE THAT WE VIEW AND UNDERSTAND THE WORLD. I’VE LEARNED THAT FINE ART WORLD. I’VE LEARNED THAT FINE ART ISN’T LIMITED TO DRAWING OR PAINTISN’T LIMITED TO DRAWING OR PAINT--ING. I LOVE THAT ABOUT THE FINE ING. I LOVE THAT ABOUT THE FINE ART DEPARTMENT. FACULTY ENCOURAGE ART DEPARTMENT. FACULTY ENCOURAGE THE USE OF DIFFERENT MEDIA, WHICH THE USE OF DIFFERENT MEDIA, WHICH I HADN’T TRIED BEFORE. EVERYTHING I HADN’T TRIED BEFORE. EVERYTHING THAT I CREATE NOW IS DEPENDENT ON THAT I CREATE NOW IS DEPENDENT ON WHAT I’M TRYING TO COMMUNICATE, WHAT I’M TRYING TO COMMUNICATE, IN ADDITION TO WHAT MATERIALS I’M IN ADDITION TO WHAT MATERIALS I’M USING. TODAY, MY WORK IS NO LONGER USING. TODAY, MY WORK IS NO LONGER JUST ASSIGNMENTS.JUST ASSIGNMENTS.

LISA MADONNALISA MADONNATERM 8TERM 8

GRAPHIC DESIGN FACULTY

Sean AdamsKaan AtillaCarla BarrBrad BartlettMaura Bendett*Ania BorysiewiczBrian Boyl, Dir. Interactive DesignJamie CavanaughJohn Chambers*James ChuCody ClarkBruce Claypool*Jason CookVladimiro DelsoglioChris DoSean DonahueRyan D’OraziMichelle DoughertyTyrone DrakeSeth DrennerAlice Fung*Robert GarrottAllison GoodmanClane GravesNik Hafermaas, ChairPaul HaugeGerardo Herrera, Dir. Package DesignOliver HessLeah HoffmitzDan HoyAnnie HuangRobert Hunt*Wayne HuntSimon Johnston, Dir. Print DesignJoan Kahn*Seth Kaufman*Richard Keyes*Steve Kim, Managing DirectorGloria Kondrup, Dir. Archetype PressLeonard KonopelskiMiguel LeeSusan LeeJustin LeibowNils LindstromCatherine MacLean*Ko MaruyamaTodd MasilkoGraham Moore*Ramone MuñozChesley NassaneyJon Tuan Nguyen*Douglas OliverJavier Palomares*Cheryl PellyClive PiercyDana Duncan Seil Ming Tai, Acting Dir. Motion DesignPetrula VrontikisLisa WagnerMichael WilsonRandall Wilson*Mary Yanish*Doyald Young

* Integrated Studies


ARTCENTER.EDU/GPK

Graphic ART CENTER COLLEGE OF DESIGN / 2011–2012Graphic ART CENTER COLLEGE OF DESIGN / 2011–2012GraphicGraphicDesignDesignDesign

Graphic Design has become more than ink on paper; it has left the page to conquer space, motion and interaction.

Nik HafermaasDepartment Chair

At Art Center, Graphic Design students learn to infuse words and images with life and meaning, whether they are creating motion graphics on the latest digital equipment, or setting type by hand in Art Center’s letterpress shop.

Our program begins with an accelerated education in the formal principles of design, aesthetics and craftsmanship, after which students may specialize in a single area of graphic design or continue to explore the full scope of communication design. This approach is consistently validated by the awards our students win in many of the nation’s top competitions.

Traditional manual skills, such as hand lettering and drawing, and sophisticated graphics software are part of the spectrum of tools available to today’s graphic designers. We challenge students to develop their design solutions while experimenting with a wide range of media, including product packaging, book and magazine layouts, interactive communication, 3D graphics, virtual environments and the creation of graphic identities and branded experiences.

Through Transdisciplinary Studios, often sponsored by corporate clients, and Designmatters projects on behalf of humanitarian organizations, our students apply their skills to commercial and nonprofit causes while collaborating with students from other majors. For example, our students recently designed new ways to engage the Millennial generation for NASA, through movies, print campaigns, environmental “interventions” and interactive solutions.

Our Graphic Design education is rounded off with courses on design history and pop culture, the language of the moving image and design research.

By learning to create solutions that are innovative, coherent, artistic and engaging, we prepare students to become leaders in communication design—whether they plan to join an established firm or launch a studio of their own.

TEACHEVIL.COMA RICH AND DYNAMIC COLLECTION OF ARTICLES, ESSAYS AND COM-MENTARY AROUND GRAPHIC DESIGN

FOR MORE STUDENT WORK, CHECK OUT THEGALLERY SECTION AT ARTCENTER.EDU/GPK

076

ARTCENTER.EDU

GRAPHIC DESIGN

1STUDENTTZU HO IPTERMFOURTHTITLE“SMMA”CLASSTYPE 4: TRANSMEDIAINSTRUCTORBRAD BARTLETT

1


ARTCENTER.EDU/GPK

2STUDENTHYEJUNG BAETERMSIXTHTITLE“MUSIC CONCERT POSTER SERIES”CLASSADVANCED GRAPHIC DESIGNINSTRUCTORCLIVE PIERCY

AWARD89TH ART DIRECTORS CLUB 2010: CUBE (HIGHEST AWARD)

2

078

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GRAPHIC DESIGN

3STUDENTEMERSON VELAZQUEZTERMSIXTHTITLE“VIVE LATINO POSTERS”CLASSADVANCED GRAPHICS STUDIO 1INSTRUCTORCLIVE PIERCY

AWARDS88TH ART DIRECTORS CLUB 2009: CUBE (HIGHEST AWARD),2009 THE TYPE DIRECTORS CLUB: CERTIFICATE OF TYPOGRAPHIC EXCELLENCE

3


ARTCENTER.EDU/GPK

4STUDENTSDESIGN:MARIAN CHAOANIMATION:ANDREW TANTERMFIFTHTITLEHP “LIVE YOUR POTENTIAL” MOTION PIECECLASSHEWLETT PACKARDSPONSORED STUDIOINSTRUCTORSIMON JOHNSTON

AWARDS2010 THE TYPE DIRECTOR’S CLUB TDC 56 SHOW, 2009 PROMAX/BDA: BROADCAST DESIGNERS ASSOCIATION AWARDS: GOLD & JUDGE’S CHOICE AWARD

4

080

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GRAPHIC DESIGN

5STUDENTTOMOKO OGINOTERMFOURTHTITLE“GRIFFITH OBSERVATORY”CLASSTYPE 4: TRANSMEDIAINSTRUCTORBRAD BARTLETT

5


ARTCENTER.EDU/GPK

6STUDENTESTHER CHANGTERMFIFTHTITLE“CASTROL PACKAGE REBRAND”CLASSPACKAGING 2INSTRUCTORANIA BORYSIEWICZ

PACKAGING SOLUTION TO REDUCE THE ENVIRONMENTAL IMPACT OF AUTO-MOTIVE PRODUCTS

6

082

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GRAPHIC DESIGNCourseRequirementsRequirements

TERM 4 GPK-261 Type 4: Transmedia ORGPK-259 Motion Typography 3 GPK-254 Package 1 3 CUL-230 Graphic Design History 1 3 GPK-332 Comm Des 4: Transmedia 3 GPK-301 Information Design 3

TERM 5 GPK-204 Identity Systems 3 GPK-303 Type for Places & Spaces 3 CUL-231 Graphic Design History 2 3 GPK-300 5th Term Review 0

Graphic Design Electives 6

TERM 6 *GPK-355 Advanced Graphic

Studio 1 3TDS Transdisciplinary Studio 3


TERM 7 *GPK-405 Advanced Graphic

Studio 2 3PRP-203 Business 101 3


TERM 8 *GPK-456 Portfolio & Career Prep 3 GPK-470 Advanced Graphic

Studio 3 3Graphic Design Electives 3



TERM 1CUL-235 Critical Practice 1 3 HMN-100 Writing Studio ORHMN-101 Writing Studio Intensive 3 CGR-151 Digital Design 2 3 FND-110 Draw & Aim 1 FND-102 Design 1 GPK / ILL / ADT 3 FND-109 Comm Des 1: Primer 3 FND-111 Type 1: Letterforms 3

TERM 2 PRP-200 Art of Research ORPRP-201 Art of Research 3 CGR-211 Motion Design 1 3 FND-152 Design 2: Structure &

Color 3 FND-159 Comm Des 2: Context 3 FND-160 Draw & Shoot 3 GPK-151 Typography 2: Structure 3

TERM 3CUL-220 Intro to Modernism 3 CGR-155 Interactive Design &

Development 1 3 FND-158 Materials of Art & Design 3 GPK-222 Comm Des 3: Narrative 3 GPK-201 Typography 3: Context 3


ARTCENTER.EDU/GPK

083

I WANT MY WORK TO ENCOURAGE PEOPLE TO INTERACT WITH EACH OTHER. AND THROUGH THAT INTERACTION, DISCOVER THAT WE’RE ALL CONNECTED.

MICHELLE CHOTERM 1


ARTCENTER.EDU/GPK


I WANT MY WORK TO ENCOURAGE PEOPLE TO INTERACT WITH EACH OTHER. AND THROUGH THAT INTERACTION, DISCOVER THAT WE’RE ALL CONNECTED.

MICHELLE CHOTERM 1

ARTCENTER.EDU

GRAPHIC DESIGN084

AS A KID GROWING UP IN BAKERSFIELD, I WAS ALWAYS PAINTING AND SKETCHING. UNFORTU-NATELY, NOT LIVING CLOSE TO AN ARTISTIC COMMUNITY, NEITHER MY PARENTS NOR I THOUGHT ART WAS A SERIOUS CAREER CHOICE. SO AFTER HIGH SCHOOL, I PUSHED MY CREATIV-ITY ASIDE AND STUDIED SOCIOLOGY AND POLITICAL SCIENCE. BUT AFTER GRADUATING FROM COLLEGE, I CAME TO REALIZE THAT CREATING ART WAS NOT JUST A BIG PART OF MY IDENTITY, IT WAS SIMPLY SOMETHING I NEEDED TO DO.

WHEN I VISITED ART CENTER, I KNEW THIS WAS THE PLACE FOR ME. WALKING DOWN THE HALLS, I NOTICED THE STUDENTS WERE MOVING WITH A PURPOSE. THEY WERE ENGAGED, MOTIVATED AND INVESTED IN THEIR WORK. AS SOMEBODY RETURNING TO UNDERGRADUATE STUDIES, THAT WAS IMPORTANT. THE FACULTY HERE GIVE STUDENTS THE TOOLS, BUT IT’S UP TO YOU TO PUSH YOURSELF. AND THAT’S ESSENTIAL. BECAUSE UNLESS YOU’RE SELF-MOTIVATED, YOU’RE NOT GOING ANYWHERE.

CHRISTINA NIZARTERM 5

ARTCENTER.EDU

GRAPHIC DESIGN084





ARTCENTER.EDU/ILLUSTRATION

Illustrators are thinkers, image-makers, provocateurs and, ultimately, artists who work in all creative fields.

Ann FieldDepartment Chair

Illustration is the defining art form of the 21st century. It connects high fashion and animated movies; retail environments and computer games; political, editorial and street art; books and children’s toys. Illustration’s unique ability to define social, political and cultural ideas makes it an ideal solution for advertising, publishing, feature animation, licensing, retail and editorial projects. To succeed in any of these areas, illustrators must not only master their drawing skills but also develop their ideas and understanding of illustration’s impact on contemporary culture. Art Center’s Illustration program is renowned for its teaching of skills in drawing, painting, perspective, color theory and concept, matched with an education in the history of art, pop culture and ideas.

After a thorough grounding in foundation classes, advanced students select an area of focus (“track”) that best suits their talent and guides the development of their practice—with a focus on projects relevant to specific careers. The tracks include:

Illustration Design: For the student interested in contemporary culture, and who possesses a graphic sensibility, digital skills and the ability to mix hand and digital practice. Projects are relevant to today’s world of illustration: licensing, publishing, print and motion.

Illustration for Motion: For the student interested in storyboarding and motion design, and who can work collaboratively on motion pieces fit for advertising, music videos, retail environments and public service announcements.

Illustration / Fine Art: For the student seeking to adapt his / her illustration skills to the gallery environment. The student participates in advanced classes within the Fine Art Department, which stresses self-direction, concept and originality.

Entertainment Arts: For the student whose exceptional skill in drawing, painting and perspective is combined with a love for story-telling, character and narrative environments. The student becomes prepared for a fast-paced career in feature animation.

WHY LOS ANGELES?ANIMATION HAS A LONG TRADITION IN THIS CITY— WALT DISNEY, WARNER BROTHERS, WALTER LANTZ—THAT CONTINUES TO THIS DAY.

WHY LOS ANGELES?LOS ANGELES’ FASHION DISTRICT SPANS 90 BLOCKS DOWNTOWN AND IS THE HUB OF THE WEST COAST APPAREL INDUSTRY.

Illustration ART CENTER COLLEGE OF DESIGN / 2011–2012Illustration ART CENTER COLLEGE OF DESIGN / 2011–2012

ARTCENTER.EDU

GRAPHIC DESIGN084




ARTCENTER.EDU

084

AS A KID GROWING UP IN BAKERSFIELD, I WAS ALWAYS PAINTING AND SKETCHING. UNFORTUNATELY, NOT LIVING CLOSE TO AN ARTISTIC COMMUNITY, NEITHER MY PARENTS NOR I THOUGHT ART WAS A SERIOUS CAREER CHOICE. SO AFTER HIGH SCHOOL, I PUSHED MY CREATIVITY ASIDE AND STUDIED SOCIOLOGY AND POLITICAL SCIENCE. BUT AFTER GRADUATING FROM COLLEGE, I CAME TO REALIZE THAT CREATING ART WAS NOT JUST A BIG PART OF MY IDENTITY, IT WAS SIMPLY SOMETHING I NEEDED TO DO.



ILLUSTRATION FACULTY

Core FacultyCore FacultyRob ClaytonGayle DonahueDana DuncanAnn Field, ChairJason HolleyRichard HoustonMike HumphriesBob KatoDavid LuceGary MeyerAaron SmithJeffrey SmithDavid TillinghastWill WestonDeni Wohlgemuth

FacultyFacultyCraig AtterberySteven BrownReynaldo BustosSean CheethamPeter ChoeChristian ClaytonRicardo DelgadoDominick DomingoDana Duncan-SeilJames HeimannJason HolleyRichard HoustonJoey JonesRichard KeyesTom KnechtelDavid LuceLorrie MaddenGary MeyerChristine NasserCliff NielsenLouis PoliceBrian ReaMartha RichNancy Riegelman Paul RogersRob RuppelJames SalvatiAlex SchaeferRon SlenzakMark Strickland

VISIT US ON FACEBOOKTINYURL.COM/3XT8730



Illustrators are thinkers, image-makers, provocateurs and, ultimately, artists who work in all creative fields.

Ann FieldDepartment Chair

Illustration is the defining art form of the 21st century. It connects high fashion and animated movies; retail environments and computer games; political, editorial and street art; books and children’s toys. Illustration’s unique ability to define social, political and cultural ideas makes it an ideal solution for advertising, publishing, feature animation, licensing, retail and editorial projects. To succeed in any of these areas, illustrators must not only master their drawing skills but also develop their ideas and understanding of illustration’s impact on contemporary culture. Art Center’s Illustration program is renowned for its teaching of skills in drawing, painting, perspective, color theory and concept, matched with an education in the history of art, pop culture and ideas.

After a thorough grounding in foundation classes, advanced students select an area of focus (“track”) that best suits their talent and guides the development of their practice—with a focus on projects relevant to specific careers. The tracks include:

Illustration Design: For the student interested in contemporary culture, and who possesses a graphic sensibility, digital skills and the ability to mix hand and digital practice. Projects are relevant to today’s world of illustration: licensing, publishing, print and motion.

Illustration for Motion: For the student interested in storyboarding and motion design, and who can work collaboratively on motion pieces fit for advertising, music videos, retail environments and public service announcements.

Illustration / Fine Art: For the student seeking to adapt his / her illustration skills to the gallery environment. The student participates in advanced classes within the Fine Art Department, which stresses self-direction, concept and originality.

Entertainment Arts: For the student whose exceptional skill in drawing, painting and perspective is combined with a love for story-telling, character and narrative environments. The student becomes prepared for a fast-paced career in feature animation.

Illustration ART CENTER COLLEGE OF DESIGN / 2011–2012Illustration ART CENTER COLLEGE OF DESIGN / 2011–2012

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1STUDENTSAMATHA KALLISTERMEIGHTHTITLE“A WRINKLE IN TIME”CLASSSTORYBOARDINGINSTRUCTORRICARDO DELGADO

2STUDENTAna SerranoTERMEIGHTHTITLE“UNTITLED”CLASSSUPERSIZEDINSTRUCTORSROB & CHRISTIAN CLAYTON (THE CLAYTON BROTHERS)



2

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ILLUSTRATION

3STUDENTPATRICK HRUBYTERMEIGHTHTITLE “IMAGINE SOMETHING BEAUTIFUL”CLASSIMAGE AND IDEAINSTRUCTORSANN FIELD &STEVEN TURK

3

(DETAIL)



4STUDENTMATT WOODTERMSIXTHTITLE“TWO PRESIDENTS, REAGAN AND JOHNSON”CLASSDRAWING CONCEPTSINSTRUCTORJEFFREY SMITH

5STUDENTKEIKA YAMAGUCHITERMSIXTHTITLE“JUMANJI RHINO”CLASSSTYLE—CHARACTER DESIGNINSTRUCTORMICHAEL HUMPHRIES 4

55

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6

6STUDENTPING ZHUTERMSEVENTHTITLE“PORTRAIT OF FILM-MAKER WES ANDERSON”CLASSILLUSTRATIVE STORYTELLINGINSTRUCTORJEFFREY SMITH



7

7STUDENTSO HEE HWANGTERMSIXTHTITLE“UNTITLED”CLASSPORTRAITUREINSTRUCTORDAVID LUCE

092

ARTCENTER.EDU

ILLUSTRATIONCourseRequirementsRequirements

Additional required elective units in Humanities and Design Sciences:Human Electives 9 Culture Electives 3 Material Environment Electives 9 Professional Practice Electives 6 Studio Elective Units 9 Total Required Units 135

ILLUSTRATION—DESIGN TRACK

TERM 4FND-251 Color Theory OR ILL-171 Portraiture 3 ILL-253 Image & Idea 3 ILL-261 Illustration Design Lab 3 ILL-260 Illustration Design 3

TERM 5 CUL-230 Graphic Design History 1

ORCUL-207 History of Art 1 ORCUL-208 History of Art 2 ORCUL-209 History of Art 3 ORCUL-215 History of Illustration 3 ILL-308 Fashion Illustration ORFND-351 Drawing Concepts 2 3 ILL-315 Illustrative Storytelling 3 ILL-319 Adv Illustration Studio 3 FND-216 Adv Portraiture OR CGR-211 Motion Design 1 3

TERM 6 *ILL-377 Illus for Publishing ORILL-357 Children’s Book

Illustration ORCGR-261 Motion Design 2 3 ILL-363 6th Term Review 0 TDS Transdisciplinary Studio 3

TERM 7 * PRP-203 Business 101 3 ILL-318 Notorious! 3 ILL-421 Supersized ORCGR-205 3D Motion Graphics ORILL-325 Nude Body 3

TERM 8 * ILL-453 Portfolio Design Lab 3


TERM 7 *PRP-203 Business 101 3 ILL-415 Background Ptg /

Animated Films 3 ILL-371 Inventive Character 1 3

TERM 8 *ILL-471 Ent Senior Projects 3 ILL-453 Portfolio Design Lab 3


ILLUSTRATION—FINE ART TRACK

TERM 4 FAR-101 Rethinking Art 1 3 FND-351 Drawing Concepts 2 ORFND-305 Drawing for Illustration ORFND-154 Drawing as Process 3 FND-171 Portraiture ORFND-251 Color Theory 3 FND-304 Painting Strategies 3 CUL-207 History of Art 1 ORCUL-208 History of Art 2 ORCUL-209 History of Art 3 ORCUL-215 History of Illustration ORCUL-230 Graphic Design History 3

TERM 5 FAR-202 Studio Practice 3 FND-251 Color Theory ORFND-171 Portraiture 3 ILL-315 Illustrative Storytelling ORILL-253 Image and Idea 3 ILL-325 Nude Body 3

TERM 6 *ILL-363 6th Term Review 0 TDS Transdisciplinary Studio 3 ILL-216 Adv Portraiture 3

TERM 7 *PRP-203 Business 101 3 ILL-425 Senior Drawing Projects 3 FAR-351 Studio Visits 1 ORFAR-252 Visiting Artists

Workshop 1 3

TERM 8 *FAR-403 Fine Art Seminar ORFAR-352 Dialogues with Visiting

Artists 3 ILL-465 Senior Painting Projects 3 ILL-453 Portfolio Design Lab 3

ILLUSTRATION—CORE TRACK

TERM 1 HMN-100 Writing Studio ORHMN-101 Writing Studio Intensive 3 CGR-101 Digital Design 1 3 FND-102 Design 1 GPK / ILL / ADT 3 FND-167 Head and Hands 3 FND-208 Composition & Drawing 3

TERM 2 CUL-235 Critical Practice 1 3 FND-152 Design 2: Structure

& Color 3 FND-106 Perspective OR IDF-102 Vis Comm Fund 1 3 FND-153 Composition and Painting 3 FND-113 Drawing Concepts 1 3 ILL-101 Illustration Now 1 3

TERM 3 CUL-236 Critical Practice 2 3 CUL-220 Intro to Modernism 3 CGR-258 Digital Illustration 3 FND-158 Materials of Art & Design

OR IDF-152 Vis Comm Fund 2 3 FND-207 Sketching for Illustration

OR FND-241 Sketching for

Entertainment 3 FND-203 Expressive Type—Illus 3 ILL-203 3rd Term Review 0

ILLUSTRATION—ENTERTAINMENT ARTS TRACK

TERM 4 ILL-253 Image & Idea 3 ILL-254 Inventive Drawing 3 ILL-256 Creative Perspective 3 CUL-207 History of Art 1 ORCUL-208 History of Art 2 ORCUL-209 History of Art 3 ORCUL-215 History of Illustration ORCUL-230 Graphic Design History 1 3

TERM 5 FND-252 Color Theory for

Entertainment 3 ILL-321 Storyboarding 3 ILL-359 Digital Landscape 3 ILL-333 Style 3

TERM 6 *ILL-356 Visual Development 3 ILL-363 6th Term Review 0 ILL-370 Intro to Matte Painting 3 TDS Transdisciplinary Studio 3

ILLUSTRATION—MOTION TRACK

TERM 4 ILL-253 Image & Idea 3 GPK-256 Storyboarding for Motion 3 ILL-261 Illustration Design Lab 3 CGR-211 Motion Design 1 3

TERM 5 ILL-319 Advanced Illustration

Studio 3 FND-252 Color Theory for

Entertainment 3 FND-155 Language of the Moving

Image 1 3 CUL-221 Language of the Moving

Image Seminar 3 FND-351 Drawing Concepts 2 ORFND-305 Drawing for Illustration ORILL-254 Inventive Drawing ORFAR-154 Drawing as Process 3

TERM 6 *CGR-261 Motion Design 2 3 ILL-315 Illustrative Story Telling 3 TDS Transdisciplinary Studio 3 ILL-363 6th Term Review 0

TERM 7 *ILL-318 Notorious! 3 CGR-205 3D Motion Graphics OR ILL-325 Nude / Body 3 PRP-203 Business 101 3

TERM 8 *ILL-453 Portfolio Design Lab 3





093

MY WORK’S AESTHETIC HAS BEEN CREATED BY THE PERFECT MIXTURE OF INSTRUCTORS, FRIENDS AND MISTAKES.

PING ZHUTERM 8




MY WORK’S AESTHETIC HAS BEEN CREATED BY THE PERFECT MIXTURE OF INSTRUCTORS, FRIENDS AND MISTAKES.

PING ZHUTERM 8

ARTCENTER.EDU

ILLUSTRATION094

I AM NOTHING LIKE I EXPECTED TO BE WHEN I FIRST STARTED AT ART CENTER. BACK THEN, I WASN’T A STRONG DRAWER —ACTUALLY, I STUDIED MATHEMATICS—BUT I HAD A LOT OF IDEAS. WHETHER I REALIZED IT THEN OR NOT, I CAME TO ART CENTER WITH A CERTAIN SET OF TALENTS THAT WEREN’T YET DEVELOPED. AFTER BEING HERE A WHILE, I BEGAN TO FUSE TOGETHER THE THINGS I ENJOY—ILLUSTRATION, DESIGN AND GEOMETRY—INTO AN UNEXPECTED LOOK AND FEEL THAT I LOVE. ART CENTER DOES A GOOD JOB OF LETTING PEOPLE LIKE ME REAL-IZE THEIR POTENTIAL. THE FACULTY AND RIGOR OF THE PROGRAM GUIDES YOU IN A WAY THAT YOU FIND YOUR TRUE CREATIVE IDENTITY.

PATRICK HRUBYTERM 8

ARTCENTER.EDU

ILLUSTRATION094

I AM NOTHING LIKE I EXPECTED TO BE WHEN I FIRST STARTED AT ART CENTER. BACK THEN, I WASN’T A STRONG DRAWER—ACTUALLY, I STUDIED MATHEMATICS—BUT I HAD A LOT OF IDEAS. WHETHER I REALIZED IT THEN OR NOT, I CAME TO ART CENTER WITH A CERTAIN SET OF TALENTS THAT WEREN’T YET DEVELOPED. AFTER BEING HERE A WHILE, I BEGAN TO FUSE TOGETHER THE THINGS I ENJOY—ILLUSTRATION, DESIGN AND GEOMETRY—INTO AN UNEXPECTED LOOK AND FEEL THAT I LOVE. ART CENTER DOES A GOOD JOB OF LETTING PEOPLE LIKE ME REAL-IZE THEIR POTENTIAL. THE FACULTY AND RIGOR OF THE PROGRAM GUIDES YOU IN A WAY THAT YOU FIND YOUR TRUE CREATIVE IDENTITY.

PATRICK HRUBYTERM 8


ARTCENTER.EDU/PHOTO

Image will be the most important document of the 21st century, functioning at the visible convergence of all content, commerce, communication, identity and culture.

Dennis KeeleyDepartment Chair

An estimated 300 million pictures are taken each day around the world, signaling the ubiquitous role of photography in our culture. But while almost anyone these days can take a photograph, very few achieve the status of great photography. Art Center’s Photography and Imaging Department helps photographers acquire the skills and creative fluency needed to create resonant visual documents, not just well crafted representations. Images that can travel through space and time without losing their significance—whether they are displayed on a cell phone or the side of a building.

In addition to conceptual and studio classes, our students study technology, fine art, history and advertising, as well as courses in business planning, branding and marketing. Students also have opportunities to partner with peers from other majors through indi-vidual projects and corporate-sponsored Transdisciplinary Studios. Students from the program also collaborate with Designmatters on projects that benefit humanitarian organizations and provide insight into issues of social significance.

Our state-of-the-art traditional and digital labs support a wide variety of photographic processes, and our students stay abreast of the continuous technical transformations impacting photography— including the ways images are captured, enhanced and distributed. Our program also dissects issues like authorship and originality in relation to digital technologies.

As a Photography and Imaging student, you will come to under-stand that what occurs before the click of a button is just as significant—if not more so—than what happens after. Our faculty of accomplished photographers will guide you in your development, helping you to articulate your ideas and specific intentions within the larger context of image making’s future.

Photography ART CENTER COLLEGE OF DESIGN / 2011–2012Photography ART CENTER COLLEGE OF DESIGN / 2011–2012Photographyand Imagingand Imagingand Imaging

GREATER L.A.

WHY LOS ANGELES?1960: THE YEAR PHOTOGRAPHER JULIUS SHULMAN PHOTOGRAPHED PIERRE KOENIG’S CASE STUDY HOUSE #22.

WHY LOS ANGELES?1976: STEVEN WHITE OPENS THE FIRST GALLERY IN L.A. EXCLUSIVELY DEDICAT-ED TO PHOTOGRAPHY.

ARTCENTER.EDU

ILLUSTRATION094

I AM NOTHING LIKE I EXPECTED TO BE WHEN I FIRST STARTED AT ART CENTER. BACK THEN, I WASN’T A STRONG DRAWER —ACTUALLY, I STUDIED MATHEMATICS—BUT I HAD A LOT OF IDEAS. WHETHER I REALIZED IT THEN OR NOT, I CAME TO ART CENTER WITH A CERTAIN SET OF TALENTS THAT WEREN’T YET DEVELOPED. AFTER BEING HERE A WHILE, I BEGAN TO FUSE TOGETHER THE THINGS I ENJOY—ILLUSTRATION, DESIGN AND GEOMETRY—INTO AN UNEXPECTED LOOK AND FEEL THAT I LOVE. ART CENTER DOES A GOOD JOB OF LETTING PEOPLE LIKE ME REAL-IZE THEIR POTENTIAL. THE FACULTY AND RIGOR OF THE PROGRAM GUIDES YOU IN A WAY THAT YOU FIND YOUR TRUE CREATIVE IDENTITY.

PATRICK HRUBYTERM 8

ARTCENTER.EDU

094

I AM NOTHING LIKE I EXPECTED TO BE WHEN I FIRST STARTED AT ART CENTER. BACK THEN, I WASN’T A STRONG DRAWER—ACTUALLY, I STUDIED MATHEMATICS—BUT I HAD A LOT OF IDEAS. WHETHER I REALIZED IT THEN OR NOT, I CAME TO ART CENTER WITH A CERTAIN SET OF TALENTS THAT WEREN’T YET DEVELOPED. AFTER BEING HERE A WHILE, I BEGAN TO FUSE TOGETHER THE THINGS I ENJOY—ILLUSTRATION, DESIGN AND GEOMETRY—INTO AN UNEXPECTED LOOK AND FEEL THAT I LOVE. ART CENTER DOES A GOOD JOB OF LETTING PEOPLE LIKE ME REAL-IZE THEIR POTENTIAL. THE FACULTY AND RIGOR OF THE PROGRAM GUIDES YOU IN A WAY THAT YOU FIND YOUR TRUE CREATIVE IDENTITY.

PATRICK HRUBYTERM 8

PHOTOGRAPHY AND IMAGING FACULTY

Core FacultyCore FacultyPaul BielenbergAnn Elliot CuttingSam DavisLibero DiZinnoGarvin EddyPatrick “Pato” HebertCharlie HollandPaul JasminDennis Keeley, ChairMichael KochmanSteve LaVoiePete McArthurKen MerfeldPaul OttengheimeIbarionex PerelloPatti PetersDavid SafianJosh SanseriJeff SedlikNorma SmithPete SuszynskiMark TakeuchiMing TshingEverard WilliamsJosh WithersEwa Wojciak

Visiting FacultyVisiting FacultyMark Edward HarrisJona FrankMona KuhnDavid KelleyDavid StrickFrank OckenfelsNorman M. KleinPornchai MittongtareKevin ReaganTom ReccionJerry CouvousierSean KernanAndrew SouthamSharon CavanaghCarol LefluffyGarvin Eddy


ARTCENTER.EDU/PHOTO

Image will be the most important document of the 21st century, functioning at the visible convergence of all content, commerce, communication, identity and culture.

Dennis KeeleyDepartment Chair

An estimated 300 million pictures are taken each day around the world, signaling the ubiquitous role of photography in our culture. But while almost anyone these days can take a photograph, very few achieve the status of great photography. Art Center’s Photography and Imaging Department helps photographers acquire the skills and creative fluency needed to create resonant visual documents, not just well crafted representations. Images that can travel through space and time without losing their significance—whether they are displayed on a cell phone or the side of a building.

In addition to conceptual and studio classes, our students study technology, fine art, history and advertising, as well as courses in business planning, branding and marketing. Students also have opportunities to partner with peers from other majors through indi-vidual projects and corporate-sponsored Transdisciplinary Studios. Students from the program also collaborate with Designmatters on projects that benefit humanitarian organizations and provide insight into issues of social significance.

Our state-of-the-art traditional and digital labs support a wide variety of photographic processes, and our students stay abreast of the continuous technical transformations impacting photography— including the ways images are captured, enhanced and distributed. Our program also dissects issues like authorship and originality in relation to digital technologies.

As a Photography and Imaging student, you will come to under-stand that what occurs before the click of a button is just as significant—if not more so—than what happens after. Our faculty of accomplished photographers will guide you in your development, helping you to articulate your ideas and specific intentions within the larger context of image making’s future.

Photography ART CENTER COLLEGE OF DESIGN / 2011–2012Photography ART CENTER COLLEGE OF DESIGN / 2011–2012Photographyand Imagingand Imagingand Imaging

096

ARTCENTER.EDU

PHOTOGRAPHY AND IMAGING

1STUDENTANDREW HARATERMFIFTHTITLE“UNTITLED”CLASSPERSONAL PROJECT

1


ARTCENTER.EDU/PHOTO

2STUDENTGISELLE HERNANDEZTERMFIRSTTITLE“UNTITLED”CLASSIMAGING 1INSTRUCTORPATTI PETERS

2

098

ARTCENTER.EDU


3STUDENTRYAN CLEVELANDTERMFIFTHTITLE“IS IT EDIBLE?”CLASSFOOD PHOTOGRAPHYINSTRUCTORPORNCHAI MITTONGTARE

3


ARTCENTER.EDU/PHOTO

4STUDENTJEDEDIAH JOHNSONTERMSEVENTHTTTLE“UNTITLED”CLASSPERSONAL PROJECT

4

100

ARTCENTER.EDU


6

5

5STUDENTBRENDAN KLEINTERMFIFTHTITLE“UNTITLED”CLASSPERSONAL PROJECT

6STUDENTROMAN KRAJEWSKITERMSEVENTHTITLE“UNTITLED”CLASSPERSONAL PROJECT


ARTCENTER.EDU/PHOTO

7STUDENTSHAINA KASANOFFTERMSECONDTITLE“UNTITLED”CLASSIMAGING 2INSTRUCTORJOSH WITHERS

7

102

ARTCENTER.EDU

PHOTOGRAPHY AND IMAGINGCourseRequirementsRequirements

TERM 4 PHO-311 Still Life 3 PHO-154 Fine Art Photography 3 PHO-251 Architecture Advanced

Critical Practice ** 3CUL-216 Hist of Photography 1 3

TERM 5 PHO-312 Design 2: Color Theory 3 PHO-258 Location Photography 3 PRP-345 Business & Professional

Practice 3 CUL-218 Hist of Photography 2 3 PHO-300 5th Term Review 0

TERM 6 PHO-360 Portfolio Development 3 PHO-346 Marketing & Self

Promotion 3 PHO-313 Stock Photography 3 TDS Transdisciplinary Studio 3

TERM 7 *PHO-411 Photo Production 3 PHO-457 Working Photographer 3PHO-400 7th Term Review 0

TERM 8 *PHO-461 Final Crit 3


* Studio electives will be added to schedule to meet studio requirements.** Take 3 units from “Advanced Critical Practice” options list.

TERM 1 PHO-102 Concept 3 FND-103 Design 1 3 PHO-161 Imaging 1 3 PHO-221 Advanced Photographic

Process 1 3 HMN-100 Writing Studio 3

TERM 2 PHO-160 Core Lighting 3 PHO-107 View Camera 3 PHO-201 Composition 3 PHO-222 Advanced Photographic

Process 2 3 PHO-211 Imaging 2 3 CUL-220 Intro to Modernism 3

TERM 3 PRP-257 Color 3 PHO-217 Portrait Lighting 3 PHO-319 Imaging 3 3 CUL-235 Critical Practices 1 3Prp-260 Professional Presentation 3 PHO-200 3rd Term Review 0


ARTCENTER.EDU/PHOTO

103

I LIKED THAT ART CENTER WAS SERIOUS AND THAT EVERYBODY SEEMED SO BUSY. I REMEM-BER WALKING PAST THE SHOPS AND LABS. I SAW THAT EVERYBODY WAS DOWN TO BRASS TACKS AND BUSI-NESS, AND THAT THEY WERE HERE TO LEARN AND WORK HARD. THAT WAS IMPORTANT TO ME. SARAH ROACHTERM 8


ARTCENTER.EDU/PHOTO


I LIKED THAT ART CENTER WAS SERIOUS AND THAT EVERYBODY SEEMED SO BUSY. I REMEM-BER WALKING PAST THE SHOPS AND LABS. I SAW THAT EVERYBODY WAS DOWN TO BRASS TACKS AND BUSI-NESS, AND THAT THEY WERE HERE TO LEARN AND WORK HARD. THAT WAS IMPORTANT TO ME.

SARAH ROACHTERM 8

ARTCENTER.EDU

PHOTOGRAPHY AND IMAGING104

MY FATHER WAS AN ENGINEER FOR THE AEROSPACE INDUSTRY AND TRANSFERRED FREQUENTLY FOR WORK, SO I LIVED IN SEVERAL STATES BY THE TIME I WAS 16. WHENEVER WE’D RELOCATE, MY FATHER, ALSO AN AMATEUR PHOTOGRAPHER, WOULD GIVE ME SOME OF HIS CAMERA EQUIPMENT. THAT ENDED UP BECOMING MY FRIEND. I USED HIS CAMERA TO EXPLORE MY NEW NATURAL SURROUNDINGS.

TO THIS DAY, I FIND MYSELF RETURN-ING TO THE WOODS FOR MY WORK. ONE GREAT THING ABOUT PHOTOGRAPHY IS THAT I’M NOT BOUND TO MY COMPUTER. ON THE WEEKENDS I CAN ROCK CLIMB, CAMP OR SURF AND STILL BE SHOOTING.

AS A PHOTOGRAPHER, YOU HAVE TO BE READY FOR YOUR SUBJECT TO OPEN UP. YOU CAN’T ALWAYS BE IN CONTROL. YOU HAVE TO TAKE RISKS, AND SOMETIMES YOU JUST HAVE TO MAKE MISTAKES. NOT EVERY ROLL OF FILM NEEDS TO TURN OUT PERFECTLY. YOU HAVE TO LET THOSE HAPPY LITTLE ACCIDENTS HAPPEN.

ALYSSA LAVINETERM 6

ARTCENTER.EDU





ALYSSA LAVINETERM 6


ARTCENTER.EDU/PROD

Today’s product designers must be creative citizens who are able to visualize a new economy and material culture, while translating their vision into meaningful products,systems and experiences.

Karen HofmannDepartment Chair

At Art Center, our Product Design students learn that good design is about combining functionality, relevance and visual appeal—and that social responsibility is part of commercial viability.

Corporations and organizations are increasingly recognizing the importance of comprehensive design in achieving success, while society as a whole is beginning to understand the vital role design can play in improving lives.

As consumer culture is shifting, the marketplace is demanding products that minimize environmental impact, from production to disposal, while at the same time seeking an emotional connection with the objects that surround them. Our department prepares students to meet these needs on both local and global scales, while giving them the tools to visualize the future.

Our curriculum provides a foundation in the design sciences, including human factors, manufacturing processes, human-centered research methodologies and design management. At the same time, students gain a comprehensive understanding of materials technologies, global trends and sustainability through access to our state-of-the-art research lab, CMTEL (Color, Materials and Trends Exploration Laboratory).

Through Transdisciplinary Studios, often sponsored by corporate clients, and Designmatters projects on behalf of humanitarian organizations, our students apply their skills for commercial and noncommercial causes.

They also deepen their understanding of business processes through our partnership with INSEAD, a leading business school with campuses in Fontainebleau, France, and Singapore. Participating students collaborate with MBA students on a creative project and attend graduate-level business courses in finance, marketing and other subjects. Our entrepreneurial component that is threaded into upper term studios provides further education in the creation of business plans and profitable product lines.

Product ART CENTER COLLEGE OF DESIGN / 2011–2012Product ART CENTER COLLEGE OF DESIGN / 2011–2012

DesignDesignDesign

GREATER L.A.

WHY LOS ANGELES?A THRIVING START-UP CULTURE THAT IS RICH WITH LOCAL FABRICATORS.

WHY LOS ANGELES?17TH LARGEST ECONOMY IN THE WORLD AND THE GATEWAY TO THE PACIFIC RIM.

ARTCENTER.EDU





ALYSSA LAVINETERM 6

ARTCENTER.EDU

104


TO THIS DAY, I FIND MYSELF RETURNING TO THE WOODS FOR MY WORK. ONE GREAT THING ABOUT PHOTOGRAPHY IS THAT I’M NOT BOUND TO MY COMPUTER. ON THE WEEKENDS I CAN ROCK CLIMB, CAMP OR SURF AND STILL BE SHOOTING.


ALYSSA LAVINETERM 6

PRODUCT DESIGN FACULTY

Core FacultyCore FacultyNathan AllenLilianaa BecerraFrido BeisertKatherine BennettThomas BertlingKrystina CastellaJames ChuGrant DelgattyRon Dickson Laura DyeGaylord EcklesJeff HigashiKaren Hofmann, ChairDerek HowardWendy LeeHeidrun Mumper-DrummJavier PalomaresJustine ParishGriselda SastrawinataBob SchuremanWakako TakagiRobert Thompson

VISIT US ON FLICKRTINYURL.COM/38ESKQ7


ARTCENTER.EDU/PROD

Today’s product designers must be creative citizens who are able to visualize a new economy and material culture, while translating their vision into meaningful products,systems and experiences.

Karen HofmannDepartment Chair

At Art Center, our Product Design students learn that good design is about combining functionality, relevance and visual appeal—and that social responsibility is part of commercial viability.

Corporations and organizations are increasingly recognizing the importance of comprehensive design in achieving success, while society as a whole is beginning to understand the vital role design can play in improving lives.

As consumer culture is shifting, the marketplace is demanding products that minimize environmental impact, from production to disposal, while at the same time seeking an emotional connection with the objects that surround them. Our department prepares students to meet these needs on both local and global scales, while giving them the tools to visualize the future.

Our curriculum provides a foundation in the design sciences, including human factors, manufacturing processes, human-centered research methodologies and design management. At the same time, students gain a comprehensive understanding of materials technologies, global trends and sustainability through access to our state-of-the-art research lab, CMTEL (Color, Materials and Trends Exploration Laboratory).

Through Transdisciplinary Studios, often sponsored by corporate clients, and Designmatters projects on behalf of humanitarian organizations, our students apply their skills for commercial and noncommercial causes.

They also deepen their understanding of business processes through our partnership with INSEAD, a leading business school with campuses in Fontainebleau, France, and Singapore. Participating students collaborate with MBA students on a creative project and attend graduate-level business courses in finance, marketing and other subjects. Our entrepreneurial component that is threaded into upper term studios provides further education in the creation of business plans and profitable product lines.

Product ART CENTER COLLEGE OF DESIGN / 2011–2012Product ART CENTER COLLEGE OF DESIGN / 2011–2012

DesignDesignDesign

VISIT OUR BLOGTINYURL.COM/37Y992B

106

ARTCENTER.EDU

PRODUCT DESIGN

1STUDENTCHRISTOPHER WUTERMFOURTHTITLE“KNEELCHAIR”CLASSPRODUCT 2INSTRUCTORFRIDOLIN BEISERT

AWARDIDEA AWARD 2009: SILVER

1


ARTCENTER.EDU/PROD

2STUDENTJAMES YOOTERMFOURTHTITLE“SNOWBOARD BOOT”CLASSPRODUCT 2INSTRUCTORFRIDOLIN BEISERT

AWARDIDEA AWARD 2010: BRONZE

2

108

ARTCENTER.EDU

PRODUCT DESIGN

3STUDENTBRYCE BUTCHERTERMSEVENTHTITLE“PHILIPS DIABETIC MONITOR”CLASSPRODUCT BRANDINGINSTRUCTORJAMES CHU

4STUDENTVINH PHOTERMFOURTHTITLE“ACTION SPORTS HELMET”CLASSPRODUCT 2INSTRUCTORFRIDOLIN BEISERT

5STUDENTJAMES VAN DEN HEUVELTERMSEVENTHTITLE“ARTEMIDE LIGHT COLOR CHANGING LAMP”CLASSPRODUCT BRANDINGINSTRUCTORJAMES CHU

5

3

4


ARTCENTER.EDU/PROD

6STUDENTCARLOS MENDEZTERMEIGHTHTITLE“VIOLIN”CLASSPRODUCT DEVELOPMENTINSTRUCTORGRANT DELGATTY

6

110

ARTCENTER.EDU

PRODUCT DESIGN

7STUDENTSCOTT SCHENONETERMSIXTHTITLE“THE PROCESS OF PEELING A CARROT”CLASSCREATIVE STRATEGIESINSTRUCTORFRIDOLIN BEISERT

7


ARTCENTER.EDU/PROD

112

ARTCENTER.EDU

PRODUCT DESIGNCourseRequirementsRequirements

TERM 4 PRD-215 Product Design 4:

Concept 3PRD-254 ID Graphics 3PRD-252 Visual Communication 4 3PRD-255 Solid Modeling 3MAT-206 Materials & Methods 3

TERM 5 PRD 253 Product Design 5:

Interaction 3PRD-317 ID Interface Design 3PRD-404 Industrial Design

Research 3PRD-302 Visual Communication 5 3PRD-301 Internship Portfolio 2MAT-313 Design for Sustainability 3


Sustainability 3PRD-356 ID Insights 3PRP-350 The Business of Design 3HMN-202 Human Factors &

Design Psych 3PRD-350 6th Term Review 0

TERM 7 *PRD-426 Product Design 7:

Branding 3TDS Transdisciplinary Studio 3PRP-351 The Design Professional 3

TERM 8 *PRD-455 Product Design 8:

Senior Projects 3PRD-461 ID Leadership 3PRD-454 Portfolio 3

Graduate Show Review

Additional required elective units in Humanities and Design Sciences:Human Electives 3 Culture Electives 6Material Environment Electives 3Professional Practice Electives 3 Studio Elective Units 12Total Required Units 144


Key Electives: Creative Strategies Toy Design Apparel Concept Design Materials & Explorations Color, Material & Finish Workshop

TERM 1 IDF-105 Product Design 1:

Form & Space 3FND-112 Design Fundamentals 1 3IDF-102 Viscomm

Fundamentals 1 3IDF-103 3D Fundamentals 1 3IDF-112 Study Models 2IDF-114 Way Things Work 2HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3

TERM 2 IDF-151 Product Design 2:

Function 3FND-165 Design Fundamentals 2 3IDF-152 Viscomm

Fundamentals 2 3IDF-153 3D Fundamentals 2 3PRP-201 Art of Research 3CGR-101 Digital Design 3


Process 3PRD-104 ID Form Language 3PRD-202 Visual Communication 3 3FND-201 Rapid Prototyping 3CUL-214 History of Industrial

Design 3CUL-220 Intro to Modernism 3PRD-200 3rd Term Review 0


ARTCENTER.EDU/PROD

113

COMING TO ART CENTER HAS TOTALLY CHANGED MY LIFE. ART CENTER HAS BROADENED MY PERSPECTIVE ON DESIGN AND ITS ROLE IN THE WORLD, ENCOURAGED ME AS A DESIGNER, GIVEN ME EXPERIENCES THAT WILL FURTHER MY FUTURE CAREER, AND INTRODUCED ME TO FRIENDS THAT I KNOW I’LL KEEP FOR A LIFETIME.

TATSURO USHIYAMATERM 8


ARTCENTER.EDU/PROD


COMING TO ART CENTER HAS TOTALLY CHANGED MY LIFE. ART CENTER HAS BROADENED MY PERSPECTIVE ON DESIGN AND ITS ROLE IN THE WORLD, ENCOURAGED ME AS A DESIGNER, GIVEN ME EXPERIENCES THAT WILL FURTHER MY FUTURE CAREER, AND INTRODUCED ME TO FRIENDS THAT I KNOW I’LL KEEP FOR A LIFETIME.

TATSURO USHIYAMATERM 8

ARTCENTER.EDU

PRODUCT DESIGN114

WHAT MAKES ART CENTER SO SPECIAL IS THAT IT HAS SUCH HIGH STANDARDS WITH A GLOBAL VISION —THEY LOOK TO PRODUCE DESIGN LEADERS. THESE DAYS, PEOPLE ARE AMAZED BY THE EXTRAORDINARY. ART CENTER STRIVES TO ENLARGE YOUR VISION TO PUSH YOU PAST AVERAGE OR GOOD INTO THE WORLD OF THINKING BIGGER. I LEARNED THAT GROWING AS A DESIGNER IS NOT JUST ABOUT TECHNIQUE, BUT ABOUT CREATING RELEVANT IDEAS.

JAKE EMMERTTERM 7

ARTCENTER.EDU

PRODUCT DESIGN114

WHAT MAKES ART CENTER SO SPECIAL IS THAT IT HAS SUCH HIGH STANDARDS WITH A GLOBAL VISION—THEY LOOK TO PRODUCE DESIGN LEADERS. THESE DAYS, PEOPLE ARE AMAZED BY THE EXTRAORDINARY. ART CENTER STRIVES TO ENLARGE YOUR VISION TO PUSH YOU PAST AVERAGE OR GOOD INTO THE WORLD OF THINKING BIGGER. I LEARNED THAT GROWING AS A DESIGNER IS NOT JUST ABOUT TECHNIQUE, BUT ABOUT CREATING RELEVANT IDEAS.

JAKE EMMERTTERM 7


ARTCENTER.EDU/TRANSPORTAL

Our students have a keen interest in the important challenges facing all aspects of transportation and see these challenges as opportuni-ties to utilize technology as a stimulus for creative and innovative design solutions.

Stewart ReedDepartment Chair

The challenges to the automotive industry present tremendous opportunities for transportation designers. Art Center’s Transportation Design Department has long served as a catalyst for innovation, and more than 60 years after its creation, our program continues to be the best educational environment for designers seeking transporta-tion design careers.

Our curriculum emphasizes key topics such as sustainable mobility and the implications of brand and product life cycle, in addition to styling, comfort, safety and usability. Our students not only gain fluency in drawing and both physical and digital modeling skills, but develop an understanding of things such as vehicle architecture, materials and process, and aerodynamics.

Exploring the balance between form and function, students develop the ability to create vehicle concepts with distinct personality and improved function.

While our department is best known for the influence our alumni have on automotive design, in recent years our program has taken a broader view of transportation, preparing students for careers in motorcycle, marine, aircraft, commercial transport, personal mobility and public transit design.

The creation of a vehicle is a team effort, and our students have opportunities to collaborate with colleagues in a range of disciplines through Transdisciplinary Studios. Also, our location in Southern California—close to more than 20 advanced automotive design studios as well as companies leading the emerging fields of new mobility and alternative energy—offers distinct advantages, including unique access to many professional designers who serve as part-time faculty and guest speakers, as well as opportunities for internships.

Transportation ART CENTER COLLEGE OF DESIGN / 2011–2012Transportation ART CENTER COLLEGE OF DESIGN / 2011–2012TransportationTransportationDesignDesignDesign

GREATER L.A.

WHY LOS ANGELES?20+ ADVANCED AUTOMO-TIVE DESIGN STUDIOS.

WHY LOS ANGELES?CALIFORNIA’S OLDEST FREEWAY—THE ARROYO SECO PARKWAY—CONNECTS PASADENA AND LOS ANGELES.

ARTCENTER.EDU

PRODUCT DESIGN114

WHAT MAKES ART CENTER SO SPECIAL IS THAT IT HAS SUCH HIGH STANDARDS WITH A GLOBAL VISION —THEY LOOK TO PRODUCE DESIGN LEADERS. THESE DAYS, PEOPLE ARE AMAZED BY THE EXTRAORDINARY. ART CENTER STRIVES TO ENLARGE YOUR VISION TO PUSH YOU PAST AVERAGE OR GOOD INTO THE WORLD OF THINKING BIGGER. I LEARNED THAT GROWING AS A DESIGNER IS NOT JUST ABOUT TECHNIQUE, BUT ABOUT CREATING RELEVANT IDEAS.

JAKE EMMERTTERM 7

ARTCENTER.EDU

114 TRANSPORTATION DESIGN FACULTY

Core FacultyCore FacultyNathan AllenEric BauerThomas BertlingRob BlumDennis CampbellIan CartabianoRon DicksonMarek DjordjevicGaylord EcklesDave HackettJason HillRicky HsuTisha JohnsonRichard KimJohn KrsteskiBumsuk LimStuart MaceyDavid MarekJae MinEric NobleDavid O’ConnellRichard PietruskaStewart Reed, ChairNikola StefanovBlair TaylorMike TsayGeoff VelazcoGeoff Wardle

VISIT US ON FLICKRTINYURL.COM/353ROEU



Our students have a keen interest in the important challenges facing all aspects of transportation and see these challenges as opportuni-ties to utilize technology as a stimulus for creative and innovative design solutions.

Stewart ReedDepartment Chair

The challenges to the automotive industry present tremendous opportunities for transportation designers. Art Center’s Transportation Design Department has long served as a catalyst for innovation, and more than 60 years after its creation, our program continues to be the best educational environment for designers seeking transporta-tion design careers.

Our curriculum emphasizes key topics such as sustainable mobility and the implications of brand and product life cycle, in addition to styling, comfort, safety and usability. Our students not only gain fluency in drawing and both physical and digital modeling skills, but develop an understanding of things such as vehicle architecture, materials and process, and aerodynamics.

Exploring the balance between form and function, students develop the ability to create vehicle concepts with distinct personality and improved function.

While our department is best known for the influence our alumni have on automotive design, in recent years our program has taken a broader view of transportation, preparing students for careers in motorcycle, marine, aircraft, commercial transport, personal mobility and public transit design.

The creation of a vehicle is a team effort, and our students have opportunities to collaborate with colleagues in a range of disciplines through Transdisciplinary Studios. Also, our location in Southern California—close to more than 20 advanced automotive design studios as well as companies leading the emerging fields of new mobility and alternative energy—offers distinct advantages, including unique access to many professional designers who serve as part-time faculty and guest speakers, as well as opportunities for internships.

Transportation ART CENTER COLLEGE OF DESIGN / 2011–2012Transportation ART CENTER COLLEGE OF DESIGN / 2011–2012TransportationTransportationDesignDesignDesign

VIEW VIDEOTINYURL.COM/3YF336B

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TRANSPORTATION

1STUDENTKIMBERLY WU TERMEIGHTHTITLE“JOY” CONCEPT VEHICLECLASSSENIOR STUDIOINSTRUCTORSDAVE HACKETT & MAREK DJORDJEVIC

2STUDENTKIMBERLY WU TERMEIGHTHTITLE“INTERIOR CONCEPT”CLASSSENIOR STUDIOINSTRUCTORSDAVE HACKETT & MAREK DJORDJEVIC

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3STUDENTJEAN PARKTERMEIGHTHTITLEVOLKSWAGON “POWER SUIT” CONCEPTVEHICLECLASSSENIOR STUDIO INSTRUCTORSDAVE HACKETT & MAREK DJORDJEVIC

3

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TRANSPORTATION

4STUDENTSALVADOR GONZALEZTERMSEVENTHTITLE“YAMAHA” CONCEPT BIKECLASSPERSONAL MOBILITYINSTRUCTORBUMSUK LIM

5STUDENTGARY SHIUTERMSIXTHTITLE“BMW X5” CONCEPTVEHICLECLASSSPONSORED PROJECTINSTRUCTORSTISHA JOHNSON & BLAIR TAYLOR

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6STUDENTJAKE LONIAK TERMSEVENTHTITLE“DEUS EX MACHINA” CONCEPT VEHICLECLASSPERSONAL MOBILITYINSTRUCTORBUMSUK LIM

6

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TRANSPORTATION

7STUDENTMARTIN ROJAS TERMEIGHTHTITLE“SPYKER” CONCEPTVEHICLECLASSSENIOR STUDIOINSTRUCTORSDAVE HACKETT & MAREK DJORDJEVIC

7

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TRANSPORTATIONCourseRequirementsRequirements

TERM 4 CUL-210 Hist of Auto Design 3 TRN-272 Auto Des 4: Vehicle Arch 2 TRN-270 Auto Des 4: Exterior 2 TRN-271 Auto Des 4: Interior 1 TRN-273 Auto Des 4: Vehicle Tech 1 TRN-252 Visual Communication 4 3TRN-320 3D Physical 4 3 TRN-321 3D Digital 4 3

TERM 5 MAT-200 Auto Engineering 3 MAT-206 Materials & Methods 1 3 TRN-306 Visual Communication 5 3 TRN-354 Mobility Design 1 3 TRN-355 Mobility Design 2 3 TRN-421 3D Digital 5 3 TRN-349 5th Term Review 0

TERM 6 TRN-352 Visual Communication 6 3 TRN-330 Auto Design 6:

Interior Design 3TRN-331 Insights 3 PRP-350 Design Management 1 3

TERM 7 *TRN-406 Auto Product Planning 3 TRN-402 Visual Communication 7 3 TRN-413 Trans Design Studio 3 TRN-449 7th Term Review 0

TERM 8 *TRN-466 Trans Design 8:

Interior Design 3 TRN-467 Trans Design 8:

Exterior Design 3

Additional required elective units in Humanities and Design Sciences:Human Electives 3Culture Electives 3Material Environment Electives 9Professional Practice Electives 6Studio Elective Units 7 Total Required Units 144


TERM 1 HMN-100 Writing Studio ORHMN-101 Writing Studio Intensive 3 FND-112 Design Fundamentals 1 3 IDF-102 Visual Communication 1 3 IDF-111 Design Process 1 3 IDF-112 Study Models 1 IDF-114 Way Things Work 1 IDF-103 3D Fundamentals 1 3 IDF-116 Way Things Look 1

TERM 2 PRP-201 Art of Research OR PRP-200 Art of Research 3 CGR-1O1 Digital Design 3 FND-165 Design Fundamentals 2 3 IDF-151 Design Process 2 3 IDF-152 Visual Communication 2 3 IDF-153 3D Fundamentals 2 3

TERM 3 CUL-220 Intro to Modernism 3 HMN-202 Human Factors &

Design Psych 3 TRN-210 Auto Des 3: Vehicle Arch 2TRN-211 Auto Des 3: Exterior 2 TRN-212 Auto Des 3: Interior 2 TRN-213 Auto Des 3: Vehicle Tech 1 TRN-215 Visual Communication 3 3 TRN-249 3rd Term Review 0



123

PEOPLE MAY CALL THIS WORK, BUT WHO ELSE GETS TO SPEND ALL NIGHT DRAWING AND MODELING CARS OUT OF CLAY? IT’SSO MUCH FUN. ONDREJ JIRECTERM 4




PEOPLE MAY CALLTHIS WORK, BUT WHO ELSE GETS TO SPEND ALL NIGHT DRAWING AND MODELING CARS OUT OF CLAY? IT’SSO MUCH FUN.

ONDREJ JIRECTERM 4

ARTCENTER.EDU

TRANSPORTATION DESIGN124

WHEN I FIRST WALKED THROUGH ART CENTER’S STUDENT GALLERY, I WAS CERTAIN TRANSPORTATION DESIGN WOULDN’T INTEREST ME. I WAS DRAWN MORE TO GRAPHIC DESIGN AND PRODUCT DESIGN.

BEFORE APPLYING TO THE COLLEGE, I TOOK AN INDUSTRIAL DESIGN CLASS THROUGH ART CENTER AT NIGHT, WHICH FOCUSED ON TRANSPORTATION DESIGN FOR HALF OF THE COURSE. AS THE CLASS WENT ALONG, I SURPRISED MYSELF BY FINDING THE PROCESS OF DESIGNING CARS VERY SATISFYING. NOT ONLY WAS IT CHALLENGING, BUT IT ALSO INVOLVED MORE SURFACING, WHICH TIED INTO THE SCULPTING I ENJOYED DOING IN HIGH SCHOOL IN TAIWAN.

TAKING CLASSES OUTSIDE MY MAJOR REALLY INFLUENCED MY WORK. MY DESIGNS USE A LOT OF ANIMATION AND WATERCOLOR, WHICH GIVES THEM A DIFFERENT LOOK. AND GETTING FEEDBACK FROM OTHER MAJORS WAS ALSO HELPFUL. AFTER ALL, TRANS-PORTATION DESIGNERS AREN’T THE ONLY PEOPLE BUYING CARS.

KERRIN LIANGTERM 8

ARTCENTER.EDU

TRANSPORTATION DESIGN124

WHEN I FIRST WALKED THROUGH ART CENTER’S STUDENT GALLERY, I WAS CERTAIN TRANSPORTATION DESIGN WOULDN’T INTEREST ME. I WAS DRAWN MORE TO GRAPHIC DESIGN AND PRODUCT DESIGN.

BEFORE APPLYING TO THE COLLEGE, I TOOK AN INDUSTRIAL DESIGN CLASS THROUGH ART CENTER AT NIGHT, WHICH FOCUSED ON TRANSPORTATION DESIGN FOR HALF OF THE COURSE. AS THE CLASS WENT ALONG, I SURPRISED MYSELF BY FINDING THE PROCESS OF DESIGNING CARS VERY SATISFYING. NOT ONLY WAS IT CHALLENGING, BUT IT ALSO INVOLVED MORE SURFACING, WHICH TIED INTO THE SCULPTING I ENJOYED DOING IN HIGH SCHOOL IN TAIWAN.

TAKING CLASSES OUTSIDE MY MAJOR REALLY INFLUENCED MY WORK. MY DESIGNS USE A LOT OF ANIMATION AND WATERCOLOR, WHICH GIVES THEM A DIFFERENT LOOK. AND GETTING FEEDBACK FROM OTHER MAJORS WAS ALSO HELPFUL. AFTER ALL, TRANS-PORTATION DESIGNERS AREN’T THE ONLY PEOPLE BUYING CARS.

KERRIN LIANGTERM 8


ARTCENTER.EDU

Undergraduate ART CENTER COLLEGE OF DESIGN / 2011–2012Undergraduate ART CENTER COLLEGE OF DESIGN / 2011–2012UndergraduateUndergraduateAlumniAlumniADVERTISING

SEAN OHLENKAMPBFA 2003

TITLE“NISSAN ALTIMA SE-R. MAKE WAY”

ENTERTAINMENTDESIGN

RAJ RIHALBFA 2008

TITLE“HATHI”

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UNDERGRADUATE ALUMNI

ENVIRONMENTALDESIGN

CORY GROSSERBS 2001

TITLE“INTERSECTION” FORMDF ITALIA, 2007

FILM

JEREMY M. LUNDBORGBFA 2009

TITLE1“COMMAND OR TRUTH,”2008

2“EMILIANO,” 2009

2

1


ARTCENTER.EDU

FINE ART

JENNIFER STEINKAMPBFA 1989 & MFA 1991

TITLE1“DAISY BELL,” 2008DIMENSIONS: VARIABLE, APPROX. 8'x26'

2“X-ROOM,” 2000DIMENSIONS:IMAGES 4.5'x12', ROOM 35'x31'SOUNDTRACK: ANDREW BUCKSBARG

21

GRAPHIC DESIGN

RAFAEL ESQUERBFA 1996

TITLE“BJÖRK COCOON” ALBUM COVER, 2002

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UNDERGRADUATE ALUMNI

ILLUSTRATION

OWEN FREEMANBFA 2009

TITLE“JANUARY JONES"PROMOTIONAL SERIES OPENER FOR HEFLIN REPS

PHOTOGRAPHY ANDIMAGING

RICHARD CHOIBFA 2009

TITLE“AMISH BOY ON HORSE”


ARTCENTER.EDU

PRODUCT DESIGN

YVES BÉHARBS 1991

TITLE1“ONE LAPTOP PERCHILD (OLPC) X0-3VERSION”

2“HERMAN MILLERLEAF LAMP”

IMAGES: COURTESY OF FUSEPROJECT

1 2

TRANSPORTATIONDESIGN

MICHELLE CHRISTENSENBS 2005

TITLE“ZDX SHOWCAR” FROM THE NEW YORKINTERNATIONALAUTOSHOW, 2009


ARTCENTER.EDU

Graduate ART CENTER COLLEGE OF DESIGN / 2011–2012Graduate ART CENTER COLLEGE OF DESIGN / 2011–2012

ProgramsPrograms

Art Center offers graduate degrees through four distinct programs: Art, Broadcast Cinema, Industrial Design and Media Design.

Built on intensive studio practice and rigorous academic coursework, the Graduate Art program prepares artists of all genres to successfully enter the contemporary art arena.

With creative freedom and experimentation as its hallmarks, the Graduate Broadcast Cinema program en-courages filmmakers to invent new forms of programming and methods of storytelling.

Practicing a systems-level methodology that balances the human, business and technological aspects of any challenge, Graduate Industrial Design students conceive and develop resilient business model-based opportunities.

By following their curiosity and developing new expertise, Graduate Media Design students explore the future of communication within a context of cultural and technological change.


ARTCENTER.EDU/GRADART


ArtArt

We began our program in 1986, and the extremely diverse works of our alumniare represented in many, if not most, of the world’smuseums of contemporary and modern art.

Jeremy Gilbert-RolfeDepartment Chair

Art Center’s Graduate Art Program is built on intensive studio practice and rigorous academic coursework, made possible by an extraordi-narily low faculty-to-student ratio that provides students with the help they need.

Our faculty and students are artists of all genres—film, video, photography, painting, sculpture, performance and installation.

Many of our alumni have achieved national and international acclaim, and they often share their insights and expertise as visiting faculty and guest lecturers.

Much of our teaching consists of one-on-one meetings between students and faculty. Our full-time faculty is composed of a core faculty of seven artists, including the Department Chair, three theo-rists and two artists. In addition, approximately 20 artists, critics and theorists serve as part-time, adjunct faculty.

Students are required to meet with core faculty, who give them a collective grade for their work at the end of each of the first four terms. For the final two terms, students are graded by a thesis committee consisting of three core faculty members plus a faculty member chosen by the student.

Academic work may be folded into the curriculum of a workshop at the Chair’s discretion.

Also, we strongly encourage (and occasionally require) students to participate in one or more of the film/video, painting and sculpture workshops. In the interest of maximizing exposure to multiple perspectives and encouraging discussions, workshops are usually taught by groups of artists and theorists.

In addition to successfully completing six terms of course work, MFA applicants exhibit a solo show of their most recent work during their sixth term, delivering a written thesis on their work or a closely related subject to their committee at the same time. Both the show and the thesis are then defended by the student at a final public review with the core and full-time faculty.

GREATER L.A.

WHY LOS ANGELES?350+ ALTERNATIVE EXHIBITION SPACES AND GALLERIES, AS WELL AS A CONCENTRA-TION OF ART SCHOOLS.

WHY LOS ANGELES?114 COLORFUL AND LIVELY NEIGHBORHOODS—ECHO PARK, VENICE, KOREATOWN, HOLLYWOOD,SILVER LAKE, LITTLE TOKYO, CULVER CITY AND CHINATOWN.

GRADUATE ART FACULTY

Core FacultyCore FacultyLita Albuquerque Walead Beshty Stan Douglas Jeremy Gilbert-Rolfe, ChairPatti Podesta Diana Thater Annette Weisser

Full-Time FacultyFull-Time FacultyBruce Hainley Gabrielle Jennings Taft GreenTimothy Martin Jason Smith

2010-2011 Visiting Artist2010-2011 Visiting ArtistKarina Nimmerfall

Adjunct FacultyAdjunct FacultyTom Allen Skip Arnold Jack Bankowsky Uta Barth Cindy Bernard Fred Dewey Lecia Dole-RecioKim Fisher Amy Gerstler M. A. GreensteinJames Hayward Patrick HillEvan Holloway Alice Könitz Jennifer KrasinskiKelly Mason Terry Myers Jim Shaw Pauline Stella-Sanchez Jan Tumlir Benjamin Weissman John Welchman




ArtArt

We began our program in 1986, and the extremely diverse works of our alumniare represented in many, if not most, of the world’smuseums of contemporary and modern art.

Jeremy Gilbert-RolfeDepartment Chair

Art Center’s Graduate Art Program is built on intensive studio practice and rigorous academic coursework, made possible by an extraordi-narily low faculty-to-student ratio that provides students with the help they need.

Our faculty and students are artists of all genres—film, video, photography, painting, sculpture, performance and installation.

Many of our alumni have achieved national and international acclaim, and they often share their insights and expertise as visiting faculty and guest lecturers.

Much of our teaching consists of one-on-one meetings between students and faculty. Our full-time faculty is composed of a core faculty of seven artists, including the Department Chair, three theo-rists and two artists. In addition, approximately 20 artists, critics and theorists serve as part-time, adjunct faculty.

Students are required to meet with core faculty, who give them a collective grade for their work at the end of each of the first four terms. For the final two terms, students are graded by a thesis committee consisting of three core faculty members plus a faculty member chosen by the student.

Academic work may be folded into the curriculum of a workshop at the Chair’s discretion.

Also, we strongly encourage (and occasionally require) students to participate in one or more of the film/video, painting and sculpture workshops. In the interest of maximizing exposure to multiple perspectives and encouraging discussions, workshops are usually taught by groups of artists and theorists.

In addition to successfully completing six terms of course work, MFA applicants exhibit a solo show of their most recent work during their sixth term, delivering a written thesis on their work or a closely related subject to their committee at the same time. Both the show and the thesis are then defended by the student at a final public review with the core and full-time faculty.

STUDENTTAFT GREENTITLES“LAG” (FOREGROUND)“TENSE” (BACKGROUND)

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GRADUATE ART

1STUDENTHEATHER COOKTITLE“2006,” BLEACH ON COTTON JERSEY WITH PUSH PINS, 67 X 41.5"

2STUDENTGREG MACLAUGHLINTITLE“SUSPENDED FRAGMENTATION”

1



“It’s absurd to say it this way, but Art Center’s MFA program is quite simply a wonderful place. It’s given me the peace of mind and confidence to know that, though I’m presently digging ditches and painting houses, I am and always will be an artist. It was during my Art Center candidacy that I fully grasped that art is a compulsion and not simply a career. At Art Center the desire to create art is formalized such that the compulsion to create is transformed into a process that produces thoughtful and aesthetic works. I have no doubt that my time at Art Center was invaluable and that I will eventually be able to put down the shovel and brush and spend all my time and energy completely enveloped in my work.” — Greg MacLaughlin

2

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GRADUATE ART

“ Ambition was never punished but always encouraged...as long as the work backed up the talk.” — Matthew Sheridan

3

4



3STUDENTMATTHEW SHERIDANTITLE“DISINFORMATION BREAKDOWN”

VIEW INSTALLATIONTINYURL.COM/2VYPZCH

4STUDENTMATTHEW GROVERTITLETHESIS EXHIBITION

5STUDENTJENNIFER WESTTITLEFILM STILL: “NIRVANA ALCHEMY FILM” (16MM BLACK & WHITE FILM SOAKED IN LITHIUM MINERAL HOT SPRINGS, PENNYROYAL TEA, DOUSED IN MUD, SOPPED IN BLEACH, CHERRY ANTACID AND LAXATIVES—JUMPING BY FINN WEST & JWEST), 2007, 2 MIN 51 SEC. COURTESY MARC FOXX, LOS ANGELES

VIEW FILMTINYURL.COM/355Z9YY

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GRADUATE ART

6STUDENTREBECCA NORTONTITLE“TEMPLE LIGHTS,” 2010”

7STUDENTLECIA DOLE-RECIOTITLE“UNTITLED (GLD.CRVS.LNN.)”

8STUDENTCATHERINE SULLIVANCATHERINE SULLIVANTITLE“TRIANGLE OF NEED,” “TRIANGLE OF NEED,” 2007

6

7



“I used to think graduate school would serve as a guide for me to know, for certain, what my art is about. Now I know that I have only a slight clue, and that is the point.” — Rebecca Norton

8

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GRADUATE ARTCourseRequirementsRequirements

TERM 4GSA-552 Masters Project 4 3AGA-554 Graduate Seminar 0 AGA-506 Theories Of Construction 3

Electives 6

TERM 5GSA-601 Masters Thesis 5 6AGA-554 Graduate Seminar 0 AGA-506 Theories Of Construction 3

Electives 6

TERM 6GSA-651 Masters Thesis 6 6AGA-554 Graduate Seminar 0 AGA-506 Theories Of Construction 3

Electives 6

AGA-700 Completed Thesis 0

Total Required Units 90

TERM 1GSA-501 Masters Project 1 6AGA-554 Graduate Seminar 0AGA-506 Theories Of Construction 3

Electives 6


Electives 6


Electives 6



145

ART CENTER’S MFA PROGRAM OFFERS A THEORETICAL APPROACH TO CONTEMPORARY ART—IT’S NOT MERELY STUDIO-BASED. YOU LEARN TO INTERROGATE THE REASONS WHY YOU MAKE ART IN THE FIRST PLACE, AND WHAT IT MEANS TO BE AN ARTIST TODAY.

NORA SHIELDSTERM 6




ART CENTER’S MFA PROGRAM OFFERS A THEORETICAL APPROACH TO CONTEMPORARY ART—IT’S NOT MERELY STUDIO-BASED. YOU LEARN TO INTERROGATE THE REASONS WHY YOU MAKE ART IN THE FIRST PLACE, AND WHAT IT MEANS TO BE AN ARTIST TODAY.

NORA SHIELDSTERM 6

ARTCENTER.EDU

GRADUATE ART146

BE PREPARED TO HAVE ALL OF YOUR ASSUMPTIONS CHAL-LENGED HERE. THE GRADUATE ART PROGRAM CAN BE VERY INTENSE, AND YOU’RE CON-STANTLY PROBED TO EXPLAIN WHAT YOUR ART MEANS. I’VE SEEN SOME CLASSMATES BE A LITTLE RESISTANT TO THIS PROCESS. BUT IF YOU OPEN YOURSELF UP TO IT, EXPLORE WHO YOU ARE AND WHAT YOUR WORK MEANS, THEN YOU’LL LEAVE HERE A MUCH BETTER ARTIST. YOU’LL PROBABLY BE A BETTER PERSON, TOO. DIGGING DEEP INTO UNDER-STANDING YOURSELF, AND WHAT YOUR WORK IS ABOUT, IS CRUCIAL. IT’S LIFE CHANGING.

STEVEN GAVENASTERM 6

ARTCENTER.EDU

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ARTCENTER.EDU

147 Graduate ART CENTER COLLEGE OF DESIGN / 2011–2012Graduate ART CENTER COLLEGE OF DESIGN / 2011–2012

Broadcast CinemaBroadcast Cinema

Art Center’s Graduate Broadcast Cinema curriculum encourages students to create beyond existing genres, designing new forms of storytelling and methods of production.

Robert PetersonDepartment Chair

In the Graduate Broadcast Cinema Department, we believe the development of an individual’s creative identity is the single most important part of a filmmaking education. A compelling story, delivered through a unique personal perspective and presented with universal clarity, can inspire audiences around the world.

Our program attracts filmmakers with diverse storytelling skills as well as some who are new to the discipline. There are no boundaries among disciplines here.

Collaborations between students and faculty from all of our majors allow ideas to flourish, providing an unparalleled creative environment for filmmakers.

Creative freedom and experimentation are the hallmarks of our program, which is customized to the goals of each individual student. Broadcast Cinema students are given an opportunity to create, direct and own their work. They may focus on directing and screenwriting or a specialized creative role such as production designer, director of photography, editor or producer. Faculty mentors—exemplary artists and filmmakers from around the globe—guide and assist students in the design, development and production of their projects.

There are no barriers to impede a student’s right to author and direct their own works. Some students may elect to create public service announcements or promotional films for real clients, such as the United Nations, through the College’s Designmatters initiative.

Our proximity to Hollywood makes Art Center an ideal choice for aspiring and contemporary filmmakers to enhance their skills and develop their concepts.

Our award-winning alumni are prominent in all aspects of the entertainment industry—directors, writers, producers, directors of photography, production designers and editors.

GREATER L.A.

WHY LOS ANGELES?$34 BILLION: AMOUNT THE MOTION PICTURE INDUSTRY GENERATES IN CALIFORNIA.

WHY LOS ANGELES?HOME TO BOTH TRADITIONAL MEDIA—NBC UNIVERSAL, 20TH CENTURY FOX TELEVISION, MTV NETWORKS—AND NEW MEDIA—YAHOO MEDIA, JIBJAB, MYSPACE.

ARTCENTER.EDU

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GRADUATE BROADCAST CINEMA FACULTY

Core FacultyCore FacultyNir BashanMarcie BegleiterMonte BramerJean-Pierre GeuensJohn HartzogHoward HeardVictoria HochbergRon OsbornStephanie NashRobert Peterson, ChairBrad SaundersEric Sherman

Guest Lecturers and MentorsMichael AptedRoger Avary*Michael Bay*Tony BillJosh BrolinDon Burgess*Doug Claybourne*Ericson Core*Sean S. CunninghamJoe DanteAllen DaviauLinda DayRobert ElswitDennis Gassner*Samuel Goldwyn Jr.Paul HaggisMark IshamNina JacobsonShelly Johnson*Janusz KaminskiJeffrey KatzenbergKathleen KennedyIrvin Kershner*Marcel Langenegger*Dale LaunerKevin Mack*Farhad Mann*Frank MarshallRon Osborn*Wally PfisterSteven Poster*Michael Sucsy*Zack Snyder*Tarsem*Greg Whiteley*Hughes Winborne

* Art Center alumni


ARTCENTER.EDU/GRADCINEMA


Broadcast CinemaBroadcast Cinema

Art Center’s Graduate Broadcast Cinema curriculum encourages students to create beyond existing genres, designing new forms of storytelling and methods of production.

Robert PetersonDepartment Chair

In the Graduate Broadcast Cinema Department, we believe the development of an individual’s creative identity is the single most important part of a filmmaking education. A compelling story, delivered through a unique personal perspective and presented with universal clarity, can inspire audiences around the world.

Our program attracts filmmakers with diverse storytelling skills as well as some who are new to the discipline. There are no boundaries among disciplines here.

Collaborations between students and faculty from all of our majors allow ideas to flourish, providing an unparalleled creative environment for filmmakers.

Creative freedom and experimentation are the hallmarks of our program, which is customized to the goals of each individual student. Broadcast Cinema students are given an opportunity to create, direct and own their work. They may focus on directing and screenwriting or a specialized creative role such as production designer, director of photography, editor or producer. Faculty mentors—exemplary artists and filmmakers from around the globe—guide and assist students in the design, development and production of their projects.

There are no barriers to impede a student’s right to author and direct their own works. Some students may elect to create public service announcements or promotional films for real clients, such as the United Nations, through the College’s Designmatters initiative.

Our proximity to Hollywood makes Art Center an ideal choice for aspiring and contemporary filmmakers to enhance their skills and develop their concepts.

Our award-winning alumni are prominent in all aspects of the entertainment industry—directors, writers, producers, directors of photography, production designers and editors.

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1STUDENTS:DIRECTORCHRIS GEHLCINEMATOGRAPHERLIZ RUBINPRODUCTION DESIGNERSONYA PALENCIAEDITORCHRIS GEHLPRODUCERSIMELDA CARLOS &CHRIS GEHLTITLE“EL ORTODONCISTA”

1



2STUDENTS:DIRECTORO NATHAPONCINEMATOGRAPHERDAVID ETHAN SANDERSPRODUCTION DESIGNERTOMOYA IMAIEDITORO NATHAPONPRODUCERSO NATHAPON &SUKUNYA SIDEN TITLE“BICYCLES AND RADIOS”

2

150

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3

3STUDENTS:DIRECTORPUNTIP LIMRUNGROJCINEMATOGRAPHERCEDRIC ANGELESPRODUCTION DESIGNERMANOCH THONGSUKEDITORSPASCUAL SISTO & BRETT EBERHARD PRODUCERPUNTIP LIMRUNGROJTITLE“BODY AND SOUL”



4STUDENTS:DIRECTORMARCEL LANGENEGGERCINEMATOGRAPHERAARON BARNESPRODUCTION DESIGNERMARCEL LANGENEGGEREDITORMARCEL LANGENEGGERPRODUCERMARCEL LANGENEGGERTITLE“THE CHAIR”

4

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5STUDENTS:DIRECTORHOKU UCHIYAMACINEMATOGRAPHERADAM MELTZERPRODUCTIONDESIGNERSADAM BOLT &ALANA LAGERHAUSENEDITORSHOVIG MENAKIAN & HOKU UCHIYAMA PRODUCERMICHAEL SILBERMAN TITLE“ROSE”

5



6

6STUDENTS:DIRECTORJOHN ARLOTTOCINEMATOGRAPHERJAMES MANNPRODUCTION DESIGNERCHRISTIAN CHI LEEEDITORJOHN ARLOTTOPRODUCERROMAN WYDENTITLE“DEFACE”

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GRADUATE BROADCAST CINEMACourseRequirementsRequirements

TERM 3SBC-573 Master’s Production

Seminar OR SBC-552 Master’s Production

Workshop 3SBC-595 Master’s Screenwriting

(or equivalent) 3ABC-601 Thesis Research 3ABC-639 Master’s Final Project

Development 3

TERM 4SBC-573 Master’s Production

Seminar OR SBC-552 Master’s Production

Workshop 3SBC-651 Master’s Thesis 3SBC-673 Master’s Post

Production Seminar 3ABC-570 Master’s Identity 3

Studio Elective Units 27Total Required Units 69

TERM 1SBC-553 Master’s Seminars

The Director & The Writer 3SBC-554 Master’s Seminars

The Director of Photography & The Production Designer 3

SBC-555 Master’s Seminars The Supervising Editor & The Producer 3

SBC-567 Designing Movement forThe Visual Director 3

SBC-525 Guest Speaker Series:“Unintended Martyrs” 3

ABC-570 Master’s Identity Seminar 3ABC-651 Master’s Workshop 3ABC-639 Final Project

Development 3

TERM 2SBC-611 Master’s Directing Class 6SBC-595 Master’s Screenwriting 3ABC-501 Master’s Seminar

(or equivalent) 3 ABC-501 Master’s Seminar 3 ABC-639 Master’s Final Project

Development 3ABC-572 Master’s Presentation 3



155

I SPENT YEARS LOOK-ING FOR MY PURPOSE. THEN I CAME HERE. I ALLOWED MYSELF TO DISCOVER WHAT IT WAS I REALLY WANTED TO DO—MAKE FILMS. ART CENTER, SPECIFICALLY THE BROADCAST CINEMA PROGRAM, HAS ALLOWED ME TO WORK AND CREATE CONSTANTLY. I NEVER GET TIRED OF IT. I’VE NEVER LOOKED BACK.

MARIA BIBER-FERROTERM 4




I SPENT YEARS LOOK-ING FOR MY PURPOSE. THEN I CAME HERE. I ALLOWED MYSELF TO DISCOVER WHAT IT WAS I REALLY WANTED TO DO—MAKE FILMS. ART CENTER, SPECIFICALLY THE BROADCAST CINEMA PROGRAM, HAS ALLOWED ME TO WORK AND CREATE CONSTANTLY. I NEVER GET TIRED OF IT. I’VE NEVER LOOKED BACK.

MARIA BIBER-FERROTERM 4

ARTCENTER.EDU

GRADUATE BROADCAST CINEMA156

I WAS PRE-MED IN COLLEGE. I TOOK THE MCAT AND DID WELL, BUT REAL-IZED THAT I DIDN’T WANT TO BE A DOCTOR. I FOUND THAT PUBLIC HEALTH WAS A REALLY GOOD FIT FOR ME, BECAUSE IT WORKS TO CREATE BEHAVIOR CHANGE IN THE PUBLIC IN ORDER TO PREVENT ILLNESS AND INJURY. SO I WENT TO YALE FOR A MASTERS OF PUBLIC HEALTH. AS I TOOK BIOSTATISTICS AND EPIDEMI-OLOGY CLASSES AND LEARNED ABOUT ALL THESE DIFFERENT ISSUES, I DISCOVERED THAT MANY PEOPLE ARE UNAWARE OF THEM. NOT MANY PEOPLE READ SCIENCE JOURNALS, LET ALONE THE SCIENCE SECTION OF THE NEWSPAPER. SO I ASKED MYSELF, “WHAT’S THE BEST WAY TO COMMU-NICATE THESE ISSUES TO PEOPLE?” PEOPLE WATCH MOVIES AND TELEVI-SION. I FOUND THAT FILM WAS AN EFFECTIVE WAY TO GO BEYOND STA-TISTICS TO THE STORIES THAT MAKE PEOPLE CARE. SO HERE I AM AT ART CENTER. MY GOAL IS TO MAKE HEALTH AND SOCIAL ISSUES REL-EVANT TO PEOPLE, AND I BELIEVE THAT THROUGH FILM, I CAN.

ELIZABETH BAYNETERM 3

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ARTCENTER.EDU


Industrial DesignIndustrial DesignIndustrial Design

Industrial design is more than the creation of desirable products and user experiences. Successful innovation requires resilient business model-based designs driven by unique insights about human needs, and the thoughtful study and design of our future.

Andy OgdenDepartment Chair

Art Center’s Graduate Industrial Design program, Grad ID, offers a two-year, six-term Master of Science curriculum focusing on theory and practice for the production of insightful research, the develop-ment of human-centric designs and the creation of new business opportunities. We combine Art Center’s renowned excellence in visual design and “making skills” with the knowledge, theories and methods essential for making design solutions for complex and unstructured problems. In doing so, we prepare students to assume leadership roles throughout creative organizations.

Our faculty of internationally renowned educators—accomplished professionals across a range of design, technology and business fields—help our students develop their abilities through projects and critical dialogue in a design studio environment.

We design with a consciousness that our products and innovations exist in a larger social and ecological context.

Our program’s methodology, which takes a systems-level view and strives to balance the business, technological and human aspects of any challenge, is called Strategic Innovation. This creative process produces empathetic solutions to essential human needs. This broadly applicable approach allows designers—and enterprise—to be resilient, and to grow.

GREATER L.A.

WHY LOS ANGELES?LOS ANGELES IS REGARDED AS THE ENTREPRENEURIAL CAPITAL OF THE WORLD.

WHY LOS ANGELES?PASADENA HAS LONG BEEN A CENTER FOR SCIENTIFIC AND AEROSPACE INNOVATION AND IS HOME TO BOTH THE CALIFORNIA INSTITUTE OF TECHNOLOGY (CALTECH) AND NASA’S JET PRO-PULSION LABORATORY.

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GRADUATE INDUSTRIAL DESIGN FACULTY

Core Faculty and StaffCore Faculty and StaffMark AndersenKatherine BennettKrystina CastellaMaritza Herrera, Department CoordinatorRichard KeyesSteve MontgomeryStory MusgraveAndy Ogden, ChairValerie PoliakoffChristopher RusayLloyd WalkerGeoff Wardle

LEARN MOREWWW.GRADID.NET


ARTCENTER.EDU/GRADID


Industrial DesignIndustrial DesignIndustrial Design

Industrial design is more than the creation of desirable products and user experiences. Successful innovation requires resilient business model-based designs driven by unique insights about human needs, and the thoughtful study and design of our future.

Andy OgdenDepartment Chair

Art Center’s Graduate Industrial Design program, Grad ID, offers a two-year, six-term Master of Science curriculum focusing on theory and practice for the production of insightful research, the develop-ment of human-centric designs and the creation of new business opportunities. We combine Art Center’s renowned excellence in visual design and “making skills” with the knowledge, theories and methods essential for making design solutions for complex and unstructured problems. In doing so, we prepare students to assume leadership roles throughout creative organizations.

Our faculty of internationally renowned educators—accomplished professionals across a range of design, technology and business fields—help our students develop their abilities through projects and critical dialogue in a design studio environment.

We design with a consciousness that our products and innovations exist in a larger social and ecological context.

Our program’s methodology, which takes a systems-level view and strives to balance the business, technological and human aspects of any challenge, is called Strategic Innovation. This creative process produces empathetic solutions to essential human needs. This broadly applicable approach allows designers—and enterprise—to be resilient, and to grow.

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ARTCENTER.EDU

GRADUATE INDUSTRIAL DESIGM

1STUDENTMAGDALENA PALUCHTITLE“SPIRIT SEATINGSYSTEM”

AWARDIDEA AWARD 2010:BRONZE



Magdalena Paluch worked with ID faculty members Heidren Mumper-Drumm, Frido Beisert and Tisha Johnson to develop the Spirit Seating System. After extensive research and analy-sis of the life cycle of current automotive seating, Paluch investigated new materials and manufacturing methods to create a design that was lighter in weight, optimized material usage, reduced toxins and allowed for easier disassembly at the end of the product life cycle. The final design provides support and comfort for the human form with structures and materials inspired by racing seats and bone and muscle anatomy.

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2TITLE“THE AMERICAN RED CROSS PARTNERSHIP”CLASSDESIGN INVESTIGATIONS

Grad ID students worked closely with the Greater New York and Los Angeles Chapters of the American Red Cross in ID faculty member Katherine Bennett’s Design Investigations class. Students were immersed in the experience of clients, staff and volunteers in disaster response, including a week of conducting observational research and interviews at the Red Cross headquarters in Manhattan. The team identified key insights and opportunities from the research and then created design proposals in the following term with faculty members Andy Ogden, Steve Montgomery and Geoff Wardle to address five key areas: branding andmessaging; organization; volunteers; disaster response; and new sources of revenue.

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3STUDENTJAMES CHIANGTITLE“VIRTUACROSS”

4STUDENTSREFIK ATATUR &URI TSARSNOSKYTITLE“RED PILLARS”

5STUDENTKOO HO SHINTITLE“1881”

AWARDIDEA AWARD 2010: SILVER

Koo Ho Shin developed the brand 1881 to connect with new generations of Americans through a message of Active Caring. The proposed line of apparel and lifestyle consumer goods have functional features focused on daily safety and emergency readiness so that consumers can be in control when unexpected events happen.

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James Chiang’s research led him to propose Virtuacross as a social network and virtual training environment. New volunteer training can be improved through remote instruction delivered by simulations of disasters in accurate environments with avatars.

Refik Atatur and Uri Tsarsnosky created Red Pillars to be an icon of the red cross embedded in daily life. The portable automated kiosk system with it’s own back-up power and mesh network capabilities to help speed response and promote collection of donations in the event of large scale disasters.

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6STUDENTCHRISTINE PURCELLTITLE“PROSTIX”

Christine Purcell’s Prostix is designed to help individuals who have lost lower limbs. She aimed to create a better crutch experience for long-term users by more comfortably support-ing the user’s body weight as well as his/her lifestyle. The stylish, rigid and lightweight carbon fiber design was developed through human factors studies and a process that included working closely with three individual crutch users. It employs an arm brace design that enables better arm motion and provides ideal support, as well as a handgrip design that distributes the user’s body weight to prevent common injuries to hands, wrists, arms and shoulders. Purcell also developed a business plan based on extensive market research and an online store design.

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Research by faculty members Lloyd Walker, Andy Ogden, Geoff Wardle and Heidren Mumper-Drumm led to the development of the MVIP System Design Cards as a tool to help people develop their skills in thinking about the future in terms of systems.

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7PROJECTFACULTY RESEARCHTITLE“MVIP (MOBILITY VISION INTEGRATION PROCESS) SYSTEM DESIGN CARDS”

AWARDIDEA AWARD 2008: SILVER & BRONZE

LEARN MOREWWW.MOBILITYVIP.COM

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GRADUATE INDUSTRIAL DESIGMCourseRequirementsRequirements

TERM 4IND-671 Visualization 4 3IND-605 Entrepreneur

Methodology 3IND-651 M4 Studio 3

Electives 3

TERM 5IND-681 M5 Studio 3IND-653 System Design Studio 5 3IND-670 Worskhop 5 3

Electives 6

TERM 6IND-606 Entrepreneur Studio 3IND-682 M6 Studio — Thesis 3IND-672 Workshop 6 3

Electives 3


TERM 1IND-502 Visualization 1 3IND-652 Visualization Cg Lab 3IND-505 Materials & Methods 1 3IND-551 3D Development 1 3IND-503 Visual Form 1 3IND-501 M1 Studio 3IND-507 Sparks & Connections 3

TERM 2IND-552 Visualization 2 3IND-530 Materials & Methods 2A 3IND-531 Materials & Methods 2B 3IND-571 3D Development 2 3IND-533 Visual Form 2 3IND-521 M2 Studio 3IND-608 Design Investigations 3

TERM 3IND-610 Visualization 3 3IND-540 Materials & Methods 3A 3IND-541 Materials & Methods 3B 3IND-601 3D Development 3 3IND-602 Visual Form 3 3IND-557 M3 Studio 3IND-555 System Design Research 3



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WE’RE NOT JUST MAK-ING PRODUCTS. WE’RE DESIGNING SYSTEMS THAT CREATE AND EXTEND VALUE.THOSE ARE THINGS YOU CAN’T JUST CHEW UP AND SPIT OUT.

KOO HO SHINTERM 5




WE’RE NOT JUST MAK-ING PRODUCTS. WE’RE DESIGNING SYSTEMS THAT CREATE AND EXTEND VALUE.THOSE ARE THINGS YOU CAN’T JUST CHEW UP AND SPIT OUT.

KOO HO SHINTERM 5

ARTCENTER.EDU

GRADUATE INDUSTRIAL DESIGN166

FOR ONE OF MY CLASSES, I DEVELOPED AN ENVIRONMENTALLY SUSTAINABLE AUTO-MOTIVE SEAT. THE ASSIGNMENT WASN’T TO INVENT SOMETHING COMPLETELY NEW. IT WAS TO TAKE AN EXISTING PRODUCT AND UNDERSTAND IT FULLY. SO FROM THE VERY BEGINNING, THE PROJECT PRE-SENTED LIMITATIONS, WHICH I ACTU-ALLY FOUND INSPIRING. THOSE LIMITA-TIONS TURNED THE ASSIGNMENT INTO A PUZZLE TO SOLVE.

A SUSTAINABLE CAR SEAT. HOW DO YOU ACHIEVE THAT? HOW DO YOU BEGIN TO UNDERSTAND ALL THE LAYERS OF COMPLEXITY? YOU NEED TO START BY SEEING WHAT’S INSIDE. SO I TOOK THE SEAT COMPLETELY APART TO SEE ALL ITS COMPONENTS AND MATERIALS. I THEN DID IN-DEPTH RESEARCH ON ALL THE MATERIALS I FOUND AND EXPLORED ALTERNATIVES THE INDUSTRY COULD USE.

THAT ASSIGNMENT TAUGHT ME THAT BEFORE DESIGNING, YOU HAVE TO FULLY UNDERSTAND THE PROBLEM. I ENJOYED GOING THROUGH THAT PROCESS SO MUCH THAT I NOW FOLLOW THOSE STEPS WITH EVERY PROJECT.

MAGDALENA PALUCHTERM 5

ARTCENTER.EDU







ARTCENTER.EDU/MDP

Graduate ART CENTER COLLEGE OF DESIGN / 2011–2012


Media DesignMedia DesignMedia Design

Art Center’s graduate program in Media Design offers a two- or three-year Master of Fine Arts curriculum that helps ambitious designers from a variety of backgrounds become design leaders and researchers in emerging fields.

We are looking for risk-takers with hybrid interests who can integrate innovative design with intellectual investigation, who can synthesize theory and practice, and who can pursue their research and making with depth, intelligence and passion.

At the start of the 21st century, we named the program Media Design, because our students’ projects no longer conformed to the disciplines of the time. Some projects were graphics-based, others were objects; some engaged, others performed; some stayed still, others moved—and some you moved through. We invented the program name because the old ones no longer fit. In the process, we created an entirely new discipline.

Media Design is now a recognized field, but still young enough that our graduates can define it on their own terms.

Our students are guided by a faculty of design visionaries and thought leaders who bring knowledge, experience and rigor to their critiques. We challenge our students to push design in new directions by following their curiosity, refining their expertise and inventing new practices within a context of cultural and technological change.

This adaptability is essential as we prepare designers to lead in amazingly diverse contexts, from scientific research labs to futurist think tanks, from leading corporations to nonprofits to design studios.

In 2009, our department moved into a 14,000-square-foot former supersonic wind tunnel at Art Center’s South Campus. A dramatic setting conducive to inspiration and experimentation, this dedicated space houses our students’ workstations, a digital lab, the New Ecology of Things research laboratory and the Wind Tunnel gallery.

We prepare designers for a world in which virtually anything—from sensor net-works to interactive surfaces to entire cities—may be the next medium or platform of communication.

Anne BurdickDepartment Chair

GREATER L.A.

WHY LOS ANGELES?91 LANGUAGES SPOKEN, INCLUDING ENGLISH, SPANISH, KOREAN, FILIPINO, ARMENIAN AND CHINESE.

WHY LOS ANGELES?THE PORT OF LOS ANGELES IS THE NATION’S LARGEST IMPORT/EXPORT PORT.

ARTCENTER.EDU






ARTCENTER.EDU

166

FOR ONE OF MY CLASSES, I DEVELOPED AN ENVIRONMENTALLY SUSTAINABLE AUTOMOTIVE SEAT. THE ASSIGNMENT WASN’T TO INVENT SOMETHING COMPLETELY NEW. IT WAS TO TAKE AN EXISTING PRODUCT AND UNDERSTAND IT FULLY. SO FROM THE VERY BEGINNING, THE PROJECT PRESENTED LIMITATIONS, WHICH I ACTUALLY FOUND INSPIRING. THOSE LIMITATIONS TURNED THE ASSIGNMENT INTO A PUZZLE TO SOLVE.




GRADUATE MEDIA DESIGN FACULTY

Full-Time Faculty and StaffFull-Time Faculty and StaffAnne Burdick, ChairSean DonahueTim DurfeeBen HookerPhil van AllenKevin Wingate

Adjunct Faculty and Thesis AdvisorsAdjunct Faculty and Thesis AdvisorsRob BallBrad BartlettJohn BrumfieldElise CoShannon HerbertGarnet HertzShona KitchenNorman M. KleinLisa KrohnThea PetchlerHolly Willis


ARTCENTER.EDU/MDP



Media DesignMedia DesignMedia Design

Art Center’s graduate program in Media Design offers a two- or three-year Master of Fine Arts curriculum that helps ambitious designers from a variety of backgrounds become design leaders and researchers in emerging fields.

We are looking for risk-takers with hybrid interests who can integrate innovative design with intellectual investigation, who can synthesize theory and practice, and who can pursue their research and making with depth, intelligence and passion.

At the start of the 21st century, we named the program Media Design, because our students’ projects no longer conformed to the disciplines of the time. Some projects were graphics-based, others were objects; some engaged, others performed; some stayed still, others moved—and some you moved through. We invented the program name because the old ones no longer fit. In the process, we created an entirely new discipline.

Media Design is now a recognized field, but still young enough that our graduates can define it on their own terms.

Our students are guided by a faculty of design visionaries and thought leaders who bring knowledge, experience and rigor to their critiques. We challenge our students to push design in new directions by following their curiosity, refining their expertise and inventing new practices within a context of cultural and technological change.

This adaptability is essential as we prepare designers to lead in amazingly diverse contexts, from scientific research labs to futurist think tanks, from leading corporations to nonprofits to design studios.

In 2009, our department moved into a 14,000-square-foot former supersonic wind tunnel at Art Center’s South Campus. A dramatic setting conducive to inspiration and experimentation, this dedicated space houses our students’ workstations, a digital lab, the New Ecology of Things research laboratory and the Wind Tunnel gallery.

We prepare designers for a world in which virtually anything—from sensor net-works to interactive surfaces to entire cities—may be the next medium or platform of communication.

Anne BurdickDepartment Chair

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GRADUATE MEDIA DESIGN

1STUDENTHYUN JU YANGTITLE“PARTICIPATORY UNIVERSE”

Working with scientists from Seoul National University and California Institute of Technology(Caltech), Yang developed a visual language to translate the complex and sometimes counter- intuitive theories of particle physics, quantum mechanics and cosmology. Yang designed diagrams, animations, display panels and an interactive kiosk.

Yang is currently the Media Design Program Post-Graduate Fellow.

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ARTCENTER.EDU/MDP

2STUDENTYU-SEUNG KIMTITLE“DISCOVERIES IN DISPLACEMENT”

Discoveries in Displacement uses interface design to restructure the world we knowinto worlds we want to know more about. Kim’s work turns information—from the content of dreams to flight schedules—into textual and visual narratives whose poetics stand in contrast to the neutral tone of many data visualizations.

Kim is currently a User Experience Designer at Yahoo!

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3 STUDENTHANNAH REGIERTITLE“SWITCH CRITTERS”

WATCH VIDEOTINYURL.COM/3YECRTK

With behaviors influenced by data flows, Switch Critters can be persuaded to performeveryday tasks such as turning on lights or starting a car. Regier invited writers to create short stories after living with the working prototypes for a week. She then made animated shorts as a way to design interactions defined by imagination, behavior and personality.

Regier is currently a Design Analyst at Frog Design, San Francisco.

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ARTCENTER.EDU/MDP

4STUDENTJULIA TSAOTITLE“CURIOUS DISPLAYS”

WATCH VIDEOTINYURL.COM/2WHTPCL

At first glance, Curious Displays is a proposal for a new product — a future display techno-logy whose robotic pixels move about the house autonomously. But Tsao has created a powerful piece of design fiction, a three-dimensional experiential prototype that allowed her to explore how the physical and the virtual may interact in the future — for better or worse.

Tsao is currently the Creative Executive at yU+co, Hollywood, and is Co-Founder of Fair Enough, Los Angeles.

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5STUDENTYU-MING CHOTITLE“TRANSBEHAVIOR”

WATCH VIDEOTINYURL.COM/2WZ92JO

In a world of ubiquitous computing, Cho’s thesis explored the role of biology and culture in our understanding of the things that surround us. Cho designed a set of interactive objects that adopted the behaviors of pets, embodied cultural rituals and extended the user’s senses in unexpected ways.

Cho is currently a Creative Director at McCann Worldgroup, Shanghai, China.

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ARTCENTER.EDU/MDP

6STUDENTJONATHAN JARVISTITLE“CRISIS OF CREDIT VISUALIZED”

WATCH VIDEOTINYURL.COM/3A2GEFE

An 11-minute visual story that uses graphic symbols and diagrams to clearly communicate the origins of the recent economic crisis, Jarvis’ Crisis of Credit Visualized went viral,appearing on a variety of sites from Motionographer to Forbes.com. The spread of the video supported Jarvis’ argument that designers are needed to communicate the complexity of today’s world.

Jarvis is currently a Designer at Google Creative Labs, New York.

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GRADUATE MEDIA DESIGNCourseRequirementsRequirements

MEDIA DESIGN—2 YEAR PATH

CONCEPT YEARMDP-502 Media History & Theory 3 MDP-534 Design Research

Practices 1 1MDP-553 Productive Interaction 3 MDP-543 People-Knowing 3 MDP-577 Objects, Spaces, & Media 3MDP-529 Authoring Critical Media 3 MDP-558 Colloquium 2A 3 MDP-559 Colloquium 2B 3 MDP-610 Thesis Gateway 0

Elective Credits MDP Topic Studios 9 units minimum, topics may change:MDP-575 Material Worlds 3MDP-578 Data Stories 3 MDP-579 Good Living in Mixed

Reality 3 MDP-537 New Ecology of Things 3MDP-574 New Modes of Reading &

Writing 3MDP-591 Ubiquitous Moving Image 3 MDP-589 Visualizing Dynamic

Systems 3

Summer X Term (choose one)MDP-975 Research Internship 6MDP-975 Studio Internship 6

Art Center Lite Term 6

THESIS YEARMDP-584 Design Research

Practices 2 2MDP-611 Thesis Workshop 1 6MDP-612 Thesis Workshop 2 9 MDP-581 Histories Of The Future 3 MDP-618 Knowledge-Sharing

Workshop 3MDP-608 Colloquium 3A 3MDP-609 Colloquium 3B 3


MEDIA DESIGN—3 YEAR PATH

DEVELOPMENT YEARFND-159 Comunication Design 2 OR GPK-201 Type 3 3 CGR-251 Interactive Design 1 OR CGR-301 Interactive Design 2 3 CGR-211 Motion Design 1 ORCGR-261 Motion Design 2 3GPK-151 Type 2 3GPK-301 Information Design 3 MDP-510 Dev Core 3MDP-517 Transmedia Design 3 MDP-522 Visual Narrative 3 MDP-508 Colloquium 1A 1 MDP-509 Colloquium 1B 1 MDP-502 Media History & Theory 3

Academic Elective 3

CONCEPT YEARMDP-534 Design Research

Practices 1 1MDP-553 Productive Interaction 3 MDP-543 People-Knowing 3 MDP-577 Objects, Spaces, & Media 3 MDP-529 Authoring Critical Media 3MDP-558 Colloquium 2A 3 MDP-559 Colloquium 2B 3 MDP-610 Thesis Gateway 0

Elective Credits MDP Topic Studios 9 units minimum, topics may change:MDP-575 Material Worlds 3MDP-578 Data Stories 3 MDP-579 Good Living in Mixed

Reality 3 MDP-537 New Ecology of Things 3MDP-574 New Modes of Reading

& Writing 3MDP-591 Ubiquitous Moving Image 3 MDP-589 Visualizing Dynamic

Systems 3

Summer X Term (choose one)MDP-975 Research Internship 6MDP-975 Studio Internship 6

Art Center Lite Term 6

THESIS YEARMDP-584 Design Research

Practices 2 2MDP-611 Thesis Workshop 1 6MDP-612 Thesis Workshop 2 9 MDP-581 Histories Of The Future 3 MDP-618 Knowledge-Sharing

Workshop 3MDP-608 Colloquium 3A 3MDP-609 Colloquium 3B 3



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175

MY WORK USES VERY SIMPLE TECHNOLOGY AND IS MORE A REACTION TO THE MEDIA AROUND US. BUT THE GREAT THING ABOUT MDP? IT SUPPORTS YOUR CHOICES.

HAELIM PAEKTHESIS YEAR


ARTCENTER.EDU/MDP


MY WORK USES VERY SIMPLE TECHNOLOGY AND IS MORE A REACTION TO THE MEDIA AROUND US. BUT THE GREAT THING ABOUT MDP? IT SUPPORTS YOUR CHOICES.

HAELIM PAEKTHESIS YEAR

ARTCENTER.EDU

GRADUATE MEDIA DESIGN176

AS A CHILD GROWING UP IN MEXICO, ONE OF THE BEST PRESENTS MY DAD EVER GAVE MY BROTHER AND I WAS A TEXAS INSTRU-MENTS TI-994A PERSONAL COMPUTER. BUT HE WOULDN’T BUY US ANY GAMES. “MAKE YOUR OWN GAMES,” HE SAID AND GAVE US A BOOK ON BASIC PROGRAMMING. I WAS INTRIGUED. I THOUGHT, ‘HOW DOES THE COMPUTER WORK? HOW DO I MAKE IT DO SOMETHING?’ LEARNING HOW TO MOVE THE CURSOR WAS EXCITING.

HOW DO I DESCRIBE “MEDIA DESIGN?” THE ELEMENTS OF SPACE, SOUND, SOFTWARE AND OBJECTS ALL PLAYING TOGETHER TO CREATE SOMETHING MEANINGFUL. IN MY WORK, I’M EXPLORING THE DISJUNCTION BETWEEN INDIVIDUALS AND SOCIETY, AND HOW WE FILL THAT VOID WITH DISTRAC-TIONS. I’M ALSO ASKING MYSELF, “HOW IS MY WORK GOING TO FIT INTO THE WORLD? ARE MY DESIGNS JUST GOING TO FEED INTO SOCIETY OR A MARKET?” I’VE LEARNED TO EMBRACE THAT TYPE OF QUESTIONING.

DANIEL LARACONCEPT YEAR

ARTCENTER.EDU

GRADUATE MEDIA DESIGN176

AS A CHILD GROWING UP IN MEXICO, ONE OF THE BEST PRESENTS MY DAD EVER GAVE MY BROTHER AND I WAS A TEXAS INSTRU-MENTS TI-994A PERSONAL COMPUTER. BUT HE WOULDN’T BUY US ANY GAMES. “MAKE YOUR OWN GAMES,” HE SAID AND GAVE US A BOOK ON BASIC PROGRAMMING. I WAS INTRIGUED. I THOUGHT, ‘HOW DOES THE COMPUTER WORK? HOW DO I MAKE IT DO SOMETHING?’ LEARNING HOW TO MOVE THE CURSOR WAS EXCITING.

HOW DO I DESCRIBE “MEDIA DESIGN?” THE ELEMENTS OF SPACE, SOUND, SOFTWARE AND OBJECTS ALL PLAYING TOGETHER TO CREATE SOMETHING MEANINGFUL. IN MY WORK, I’M EXPLORING THE DISJUNCTION BETWEEN INDIVIDUALS AND SOCIETY, AND HOW WE FILL THAT VOID WITH DISTRAC-TIONS. I’M ALSO ASKING MYSELF, “HOW IS MY WORK GOING TO FIT INTO THE WORLD? ARE MY DESIGNS JUST GOING TO FEED INTO SOCIETY OR A MARKET?” I’VE LEARNED TO EMBRACE THAT TYPE OF QUESTIONING.

DANIEL LARACONCEPT YEAR


ARTCENTER.EDU


AlumniAlumni

“Art Center changed the way I thought about art making in terms of being a professional. It isn’t necessarily about tossing around art materials and having fun in the studio. It is about thought and form and responsibility. Responsibility to the viewer, and everything that implies, but also—and sometimes more important—responsibility as a viewer, especially in terms of agility.” —Pae White

GRADUATE ART

PAE WHITEMFA 1991

TITLE“UNTITLED, STILL,”2010COTTON TAPESTRY

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GRADUATE ALUMNI WORK

GRADUATE BROADCASTCINEMA

ZACK SNYDERBFA 1989 & MFA 1992

TITLE1“LEGEND OF THEGUARDIANS”© 2010, WARNER BROS.ENTERTAINMENT INC. ALL RIGHTS RESERVED

2“SUCKER PUNCH”© 2011, WARNER BROS.ENTERTAINMENT INC. ALL RIGHTS RESERVED

3“WATCHMEN”© 2009, WARNER BROS.ENTERTAINMENT INC. ALL RIGHTS RESERVED

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ARTCENTER.EDU

GRADUATE INDUSTRIALDESIGN

DAN WINGERMS 2007

TITLE“SKILLERS”

Employing CAD, rapid prototyping and classic sculpting techniques from the auto industry, Winger developed Skillers, an integrated ski goggle and audio/communications system. The system features hidden noise-cancelling speakers, an MP3 player, a two-way radio and Bluetooth technology that allows users to listen to music, make phone calls and connect to an online music service. “Skillers are inspired by rock culture,” says Winger. “They’re bold, aggressive and not afraid to offend the timid.”

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GRADUATE ALUMNI WORK

GRADUATE MEDIADESIGN

1NIKOLAI CORNELLMFA 2004

TITLE“THE CUELIGHT POOLTABLE,” OBSCURA STUDIO

2DAVID SCHWARZMFA 2004

TITLESONY ERICSSON’S“BIG SCREEN” PHONE, HUSH STUDIO

The CueLight Pool Table, featured at the Paradise Tower Penthouse, Hard Rock Hotel & Casino, Las Vegas, uses Obscura Digital’s projection, sensor and tracking system to reveal images and animations that “follow” the movements of pool balls as they are hit around the table.

Still from a promotional video for Sony Ericsson’s new “Big Screen” phone shows one piece of a campaign that included video ring tones, demo movies, wallpapers and more.

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ARTCENTER.EDU/HDS

Everything is interconnected, yet specialist knowledge is ever more vital. Through Humanities and Design Sciences you will enter the world with the broader under-standing that shows, if not quite how to square the circle, how to approach the task.

Dr. Penny FlorenceDepartment Chair

chi•as•mus (Pronunciation: ): a crossing; x formation; a reflected syntactic structure between parallel phrases

Humanities and Design Sciences* are of concern to you. All students take HDS classes since they aim to equip you not only with specific knowledges, but also with broader ways of understanding that are relevant across all disciplines. How does this title ‘HDS’ unpack? If you thought of ‘hybrid’ you were on the right track. HDS brings together elements that may not be obviously related. It is a mobile space where people and disciplines connect, intersect and grow differentially. That is, while each may have their own pathway, there are elements in common. HDS is chiasmatic in structure. It is where aspects of the disciplines cross, but, like the chiasmus, it is also a syntactic structure or system of connections. It is where you think outside your discipline or your project, while considering exactly how the inside links to the outside.

So in precise but multiple ways, HDS classes work in conjunction with the studio programs to foster thoughtful and rigorous inquiry across the College, traversing historical, literary, artistic, cultural and scientific perspectives. In this way, they contribute to ensuring you have the knowledge to be able to map your very own pathway. Like Designmatters and Transdisciplinary Studios, they provide you with ways of seeing how your majors interrelate in the present and to the past. They therefore contribute to well-founded ways of envisioning futures.

* known as liberal arts and sciences at most other schools

Humanities and ART CENTER COLLEGE OF DESIGN / 2011–2012Humanities and ART CENTER COLLEGE OF DESIGN / 2011–2012

Design SciencesDesign SciencesDesign Sciences

EIJA-LIISA AHTILATHE HOUSE, 2002FILM STILL14 MIN

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INTEGRATED STUDIES

Integrated Studies is not a major. Rather, it is a “horizontal” depart-ment where students from multiple majors study together learning material common to all disciplines—basic visual vocabulary, craftsmanship and technical skills. These classes are automatically included in your major department’s course of study based on their respective curricula. This creates an interdisciplinary atmosphere, allowing students to learn from one another and forge important relationships with their peers. Art Center’s long-standing distinction for—and commitment to—craft begins with these classes.

Integrated Studies promotes critical awareness teaching how images make meaning while students develop a self-awareness of their own design and problem solving processes. Our classes help students discover their own personal voice while encouraging collaboration and team-building skills across disciplines. Finally, students will learn that there are ethical components to their prac-tice and cultural production, and that their actions have an impact on other communities (citizenship) and the environment (sustain-ability) which, when followed, result in art and design leadership.

The Integrated Studies Department is nimble, with the flexibility to respond to student needs. It can create a class based on student requests as long as the class appeals to more than one major. All undergraduate students from every department take Integrated Studies classes. The department is designed to facilitate and support each major by creating an intersection allowing for communication, cross-pollination and enhanced creativity for everyone.

Integrated Studies classes will teach you how to see with your mind, draw with your eyes and think with your hands.

Wendy AdestDepartment Chair

IntegratedIntegratedStudiesStudies

VIEW VIDEOStinyurl.com/34ub75u


ARTCENTER.EDU/INTEGRATEDSTUDIES

1STUDENTYOON LEETERMSECONDTITLE“FINAL PROJECT”CLASSDESIGN 2INSTRUCTORJON NGUYEN

2STUDENTCONNIE CHANGTERMFIRSTTITLE“2-D COMPOSITION ASSIGNMENT”CLASSDESIGN 1INSTRUCTORBRUCE CLAYPOOL

3STUDENTJUNG LIM PARKTERMTHIRD TITLE“POP” WALL CLOCKCLASSRAPID PROTOTYPINGINSTRUCTORJAVIER PALOMARES

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DESIGNMATTERSDesignmattersDESIGNMATTERSDesignmattersDESIGNMATTERSDesignmattersDesignmatters

With Designmatters, students have a platform to engage with a broad range of issues and work with a wide diversity of communities, transforming their ideas into deeply conse-quential actions.

Mariana AmatulloVice PresidentDesignmatters

At Art Center, we believe that art and design education should exist within a larger field of social, humanitarian and responsible business practices. Our College-wide social impact initiative, Designmatters, infuses the College curricula with content and expertise relevant to contemporary issues through strategic partnerships with leading nonprofits and industry. These collaborations focus on four pillars of investigation as they intersect with art and design: sustainable devel-opment, global healthcare, public policy, and social entrepreneurship.

In recognition of Designmatters’ service to society, in 2003 Art Center became the first design school to receive Non-Governmental Organization (NGO) status by the United Nations; Designmatters has also fostered a series of prestigious and unique global affiliations that provide students and alumni access to a prominent stage in which to offer innovative solutions to critical issues of our time—with the results widely disseminated beyond the studio’s walls.

Students from all disciplines are eligible to participate in an evolving set of Designmatters Transdisciplinary courses offered each term and collaborate on projects with real-world, actionable out-comes. To date, participating students have created a highly diverse body of work including public service announcements, documentary films, branding identity systems, integrated multi-media campaigns, product prototypes, mobility concepts, multi-platform communication portals, environmental solutions for communities with specific needs, and more.

The Designmatters Concentration is offered to students who wish to explore more fully art and design for social impact. Interested students declare the concentration during the third term and must fulfill a series of seven required courses, which vary depending on the student’s discipline, and include academic, discipline-specific and studio-based offerings. The sequence of requirements gives students flexibility during their studies, while also preparing them to deploy a toolbox of important skills and a set of values including empathy,

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VIEW VIDEOSvimeo.com/designmatters


ARTCENTER.EDU/DESIGNMATTERS

1TITLE“SAFE AGUA CHILE RESEARCH METHODOLOGY CARDS”CLASSTDS ENVIRONMENTAL DESIGN DEPARTMENTINSTRUCTORSLILIANA BECERRA, PRODUCT DESIGN/ DAN GOTTLIEB & PENNY HERSCOVITCH, ENVIRONMENTAL DESIGN

2STUDENTCINDY CHENTITLE“THIS IS MY HOME”CLASSHUMAN RIGHTS PUBLIC EDUCATION EXHIBITION/TDS ILLUSTRATION DEPARTMENTINSTRUCTORSMARTHA RICH & ESTHER PEARL WATSON,ILLUSTRATION DEPARTMENT

3STUDENTJANA FRIELINGTITLE“FACES, VOICES AND PLACES”CLASSINDEPENDENT STUDY, GRAPHIC DESIGN DEPARTMENTINSTRUCTORKEITH KNUEVEN, GRAPHIC DESIGN DEPARTMENT

global citizenship, user-led innovation and cultural diversity. By parti-cipating in Designmatters courses as well as engaging in internships, students in the Designmatters Concentration partake in a unique track of experiential learning.

Recent PartnersAmerican Cancer SocietyDroga5GE HealthcareOrganization of American StatesPan American Health OrganizationPrinceton University Mechanical Engineering DepartmentProject HUn Techo Para mi PaísUnited Nations Children’s Fund (UNICEF)United Nations Population Fund (UNFPA)United States Geological Survey University of Southern California Keck School of Medicine and Annenberg School for Communication and Journalism

“We all spend a lot of time discussing and debating what the world should be like, but rarely do we ever take action. Our class had the chance to conduct field research in Guatemala. Instead of spending three months working on a hypothetical problem, we spent that time exploring solutions that would hopefully bring a positive change to real people. All of a sudden, I wasn’t a student working in a class-room in Pasadena, but a person with responsibility and potential.”— Jonathan Goldman, Advertising Student

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186 STUDENT AFFAIRS

ARTCENTER.EDU/STUDENTLIFE

Life at Art Center is active and engaging both within and beyond the classroom. Even before you arrive on campus, programs and services are available to help you get the most out of your time here. As a student, you’ll discover numerous ways to get involved with the College community, whether it’s by developing your leadership skills, participating in student clubs and organizations or volunteering with local groups. After you graduate, you’ll continue to receive assistance as you put your talents to work and build a career. The Department of Student Affairs —which includes our Center for the Student Experience (CSE), Office of Enrollment Services and Office of Career Development —oversees the essentials and the other complemen-tary opportunities outside of the classroom.

We make sure your academic records are accurate and help you determine that you’re where you should be on your path to graduation. Special services, including health insurance, personal counseling, housing information, international student advisement and disability support and accommodations, are coordinated through our depart-ment. When you first arrive on campus, you’ll meet our staff as we coordinate new student orientation. We host social events throughout the year and even cook for you when you’re cramming for finals at our Late Night Breakfast. We support your elected student government representatives as they work to improve the student experience, we bring speakers and other co-curricular educational programs to campus, and we celebrate our intercultural diversity.

Each person arrives on campus at a different stage in their life— some have already earned a college degree; others will be completing their first. We tailor our services and programs to your needs, whether you’re an international student or a Southern California native.

Whether you are looking to join a student organization, start a new one, develop your leadership skills—or simply enjoy the parade and a plate of eggs—our staff is here to support you, assist in your personal development and help you attain a well-rounded education.

StudentAffairsAffairs


ARTCENTER.EDU/CAREERDEVELOPMENT

At Art Center, we are committed to helping our students launch their careers as artists and designers as well as aiding in the advancement of our alumni. The Office of Career Development provides students and alumni with resources and services, working one-on-one to help facilitate meaningful connections with the professional environment.

In a highly competitive job market, plotting a career path and sharpening personal skills are more critical than ever. Our Career Strategies Workshops provide students and alumni with advice on résumé and cover letter preparation, interviewing techniques, networking skills and uncovering the “hidden job market.”

We also identify and develop paid internships that provide students with practical, hands-on work experience under the direction of practicing artists and designers. Students have recently interned at Acura, Good magazine, Insomniac Games, Nestlé, New Line Cinema /Warner Bros. and TOMS Shoes. Scan the QR code or visit our website for a full list of recent internships.

Through our Business Dialogue Series, leaders of design firms and studios come to campus to create awareness of their business, showcase their work and engage in conversation with students.

Our mentorship program, The DOT Exchange, connects students, alumni and peers, giving mentees opportunities to broaden their professional networks and develop their skills through workshops and presentations.

Graduating students benefit from our busy on-campus recruitment schedule. Each term, we invite national and international studios and design firms to meet graduating students and review their portfolios. Recent companies have included Apple, BMW Group / Designworks USA, Dreamworks Animation, NONOBJECT, Oakley and Saatchi & Saatchi. See page 214 for a more comprehensive list.

Finally, our Office coordinates the dotJOBS website, an online job posting service available exclusively to graduating students and alumni of Art Center.

Career ART CENTER COLLEGE OF DESIGN / 2011–2012Career ART CENTER COLLEGE OF DESIGN / 2011–2012

DevelopmentDevelopmentDevelopment

view recent internshipsview recent internshipsartcenter.edu/internships

188 PUBLIC PROGRAMS

ARTCENTER.EDU/PUBLIC

Creativity is inherent in all of us. Public Programs offer unparalleled educational opportunities in art and design for students of all ages and levels of experience to access and maximize their creativity.

Dana L. WalkerManaging Director Public Programs

Serving as a gateway to the degree programs, our Public Programs provide access to exceptional instruction, facilities and networking opportunities. Headquartered at South Campus, these programs feature a varied and evolving curriculum led by a dedicated faculty of professional artists and top design practitioners, many of whom are Art Center alumni.

Art Center at Night (ACN), our part-time continuing studies program, is where many Art Center students first explore the educational opportunities offered at the College to take courses and create projects vital in the development of portfolios for admissions. ACN is also a resource for art and design professionals as well as adults new to the creative process. ACN offers a wide range of challenging, studio-based and academic classes taught by many of the same faculty who teach in the degree programs.

Many degree students begin their exploration of majors through Saturday High, our program for high school students (grades 9 through 12). In Saturday High, students discover their creative voices and explore a rich art and design curriculum in a college environment. These courses mirror the diverse disciplines of the College and reflect Art Center’s founding educational philosophy.

Art Center for Kids nurtures creativity and fosters an understanding of the art and design process in children in grades 4 through 8. Innovative courses include everything from sculpture and photography to architecture, graphic design, film and digital media.

The Summer Institute for Teachers is a community resource for K-12 educators in all subjects and grade levels. The intensive, five-day workshop is based on a proven and award-winning methodology called Design-Based Learning, which taps students’ natural creativity to develop higher-level thinking and enhance comprehension of the K-12 standards-based curriculum.

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1STUDENTCHLOE MYASKOVSKYPROGRAMSATURDAY HIGHCLASSCOSTUME FIGURE DRAWINGINSTRUCTORJEAN-PAUL ORPINAS

2STUDENTNINA THOMASIANPROGRAMART CENTER AT NIGHTCLASSINTRODUCTION TO GRAPHIC DESIGNINSTRUCTORDAN HOY

PublicProgramsProgramsProgramsProgramsProgramsProgramsProgramsProgramsPrograms

ARTCENTER.EDU/ADMISSIONS

We believe there is a right college for each art and design student—a place that provides the right education for you as an individual. We hope you will visit us, spend time on our campus, view our student work and become familiar with the accomplishments of our alumni and faculty. Our Admissions counselors are here to guide you through the application process, answer your questions and serve as your admissions mentors.

Art Center welcomes applications from stu-dents who are committed to pursuing a career in the visual arts and design. The programs are specialized, so applicants must seriously consider their choice of major before applying.

Your classmates will be serious and talented. We are committed to bringing together a diverse and motivated group of students who will join our exceptional faculty—who together create your classroom experience.

Admission to Art Center is based on a strong portfolio, a sound academic record in high school or college, and information derived from your essays and other application responses.

Admission is “need blind”; the acceptance process is independent of your financial circumstances.

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

– Counseling: Meet with an Admissions counselor for guidance on portfolio preparation and the admissions process. Sessions are not formal admissions interviews, but will help you direct your portfolio development.

– Arrangements can be made for phone counseling sessions if you email or post your portfolio work.

– Tour: Student-led tours of our Hillside Campus are held Monday–Friday at 2 pm.

– Call 626-396-2373 for a counseling or tour appointment or to speak with a counselor if you can’t visit in person.

Your Choice of MajorYou will be choosing a major at the time you apply to Art Center. We offer 10 undergraduate programs and each curriculum is distinct—from the very first term of your program. It is important that you read about the majors care- fully and then review the portfolio requirements for that major.

Bachelor of Fine Arts (B.F.A.)Advertising Film Fine Art Graphic Design Illustration Photography and Imaging

Bachelor of Science (B.S.)Entertainment Design Environmental Design Product Design Transportation Design

– Art Center does not offer a foundation (undeclared major) program.

– Students apply directly to one of 10 undergraduate majors and a portfolio of work specific to that major is required. Read the portfolio requirements section.

– We encourage students to spend time exploring their choice of major prior to Art Center. This will be an important commitment; while it is possible to change majors, it is not guaranteed, and can result in starting over in the new major.

– All degree requirements, including your studio art and Humanities and Design Sciences classes, are offered at Art Center. You can take the entire program here, or transfer in credits prior to entry.

Your Program of Study– Most students will enroll in a program that

takes a minimum of eight 15-week terms, or semesters.



We believe there is a right college for each art and design student—a place that provides the right education for you as an individual. We hope you will visit us, spend time on our campus, view our student work and become familiar with the accomplishments of our alumni and faculty. Our Admissions counselors are here to guide you through the application process, answer your questions and serve as your admissions mentors.

Art Center welcomes applications from stu-dents who are committed to pursuing a career in the visual arts and design. The programs are specialized, so applicants must seriously consider their choice of major before applying.

Your classmates will be serious and talented. We are committed to bringing together a diverse and motivated group of students who will join our exceptional faculty—who together create your classroom experience.

Admission to Art Center is based on a strong portfolio, a sound academic record in high school or college, and information derived from your essays and other application responses.


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

– Counseling: Meet with an Admissions counselor for guidance on portfolio preparation and the admissions process. Sessions are not formal admissions interviews, but will help you direct your portfolio development.

– Arrangements can be made for phone counseling sessions if you email or post your portfolio work.

– Tour: Student-led tours of our Hillside Campus are held Monday–Friday at 2 pm.

– Call 626-396-2373 for a counseling or tour appointment or to speak with a counselor if you can’t visit in person.

Your Choice of MajorYour Choice of MajorYou will be choosing a major at the time you apply to Art Center. We offer 10 undergraduate programs and each curriculum is distinct—from the very first term of your program. It is important that you read about the majors care-fully and then review the portfolio requirements for that major.

Bachelor of Fine Arts (B.F.A.)AdvertisingFilmFine ArtGraphic DesignIllustrationPhotography and Imaging

Bachelor of Science (B.S.)Entertainment DesignEnvironmental DesignProduct DesignTransportation Design

– Art Center does not offer a foundation (undeclared major) program.

– Students apply directly to one of 10 under-graduate majors and a portfolio of work specific to that major is required. Read the portfolio requirements section.

– We encourage students to spend time exploring their choice of major prior to Art Center. This will be an important commitment; while it is possible to change majors, it is not guaranteed, and can result in starting over in the new major.

– All degree requirements, including your studio art and Humanities and Design Sciences classes, are offered at Art Center. You can take the entire program here, or transfer in credits prior to entry.

Your Program of StudyYour Program of Study– Most students will enroll in a program that

takes a minimum of eight 15-week terms, or semesters.

Undergraduate ART CENTER COLLEGE OF DESIGN / 2011–2012Undergraduate ART CENTER COLLEGE OF DESIGN / 2011–2012UndergraduateUndergraduateAdmissions

ADMISSIONS

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– There are three scheduled terms in each academic year: Fall, Spring and Summer. Students can attend one, two or three terms per year depending on the rate at which they want to complete the program. Students who attend all year round for three terms can finish in a minimum of two years and eight months. The exception is Entertainment Design students who attend studio classes in the Fall and Spring only; Summers may be taken off, or students may take Humanities and Design Sciences classes.

Transfer StudentsStudents who have completed studio coursework at another college that parallels the major coursework at Art Center may receive advanced standing.

– Advanced standing is based on the level and content of the portfolio and prior college experience. Studio transfer credit is based on portfolio review at the time of admission as well as evaluation of prior college transcripts.

– Humanities and Design Sciences (liberal arts) transfer credit is awarded based on Art Center’s requirements and comparable credits taken at another college.

– Awarding of studio credit, not Humanities and Design Sciences credits, determines the length of the program. Refer to the section on Transfer Credit for more information.

International StudentsArt Center welcomes and values its international students and the cultural diversity they bring to our campus.

As Art Center courses are conducted in English, undergraduate applicants with a native language other than English must score at least 80 on the Internet-based TOEFL (iBT). Details are included in the Admissions Requirements Section.

For more information about programs and services for international students, please visit our website at artcenter.edu.

VeteransArt Center is approved for veterans’ study under several GI bills, including the Yellow Ribbons program. Veterans should contact the Financial Aid Office at 626-396-2217 for information.

Special Student StatusArt Center occasionally admits students to its Special Status program. These students are allowed to attend Art Center classes for up to three terms on a non-degree basis.

Applicants complete the admissions procedure for undergraduate students and check off “Special Student Status” on the application form. Special Status students pay the current full-time tuition rate, and are not eligible for financial aid or scholarships.

To qualify, students must show an advanced level portfolio for one major. The program is intended for students who have had significant work and educational experience. Students cannot transfer to the degree program once enrolled as non-degree students. Certain academic policies and services do not apply to Special Status students, and they must abide by all College policies.

Undergraduate Application RequirementsRequirements are subject to change, and we recommend consulting the Art Center website for any updates on this printed information.

Follow these steps to complete your application. All materials should be sent to: Admissions Office, Art Center College of Design, 1700 Lida Street, Pasadena, CA 91103

1) Complete the application for admission. Complete the application for admission

online or download it from our website, artcenter.edu.

2) Complete all required essays described on the application.

ADMISSIONS

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190

– There are three scheduled terms in each academic year: Fall, Spring and Summer. Students can attend one, two or three terms per year depending on the rate at which they want to complete the program. Students who attend all year round for three terms can finish in a minimum of two years and eight months. The exception is Entertainment Design students who attend studio classes in the Fall and Spring only; Summers may be taken off, or students may take Humanities and Design Sciences classes.

Transfer StudentsStudents who have completed studio course-work at another college that parallels the major coursework at Art Center may receive advanced standing.

– Advanced standing is based on the level and content of the portfolio and prior college experience. Studio transfer credit is based on portfolio review at the time of admission as well as evaluation of prior college transcripts.

– Humanities and Design Sciences (liberal arts) transfer credit is awarded based on Art Center’s requirements and comparable credits taken at another college.

– Awarding of studio credit, not Humanities and Design Sciences credits, determines the length of the program. Refer to the section on Transfer Credit for more information.

International StudentsArt Center welcomes and values its international students and the cultural diversity they bring to our campus.

As Art Center courses are conducted in English, undergraduate applicants with a native language other than English must score at least 80 on the Internet-based TOEFL (iBT). Details are included in the Admissions Requirements Section.

For more information about programs and services for international students, please visit our website at artcenter.edu.

VeteransArt Center is approved for veterans’ study under several GI bills, including the Yellow Ribbons program. Veterans should contact the Financial Aid Office at 626-396-2217 for information.

Special Student StatusSpecial Student StatusArt Center occasionally admits students to its Special Status program. These students are allowed to attend Art Center classes for up to three terms on a non-degree basis.

Applicants complete the admissions proce-dure for undergraduate students and check off “Special Student Status” on the application form. Special Status students pay the current full-time tuition rate, and are not eligible for financial aid or scholarships.

To qualify, students must show an advanced level portfolio for one major. The program is intended for students who have had significant work and educational experience. Students cannot transfer to the degree program once enrolled as non-degree students. Certain academic policies and services do not apply to Special Status students, and they must abide by all College policies.

UndergraduateUndergraduateApplication RequirementsApplication RequirementsRequirements are subject to change, and we recommend consulting the Art Center website for any updates on this printed information.

Follow these steps to complete your application. All materials should be sent to: Admissions Office, Art Center College of Design, 1700 Lida Street, Pasadena, CA 91103

1) Complete the application for admission. Complete the application for admission

online or download it from our website, artcenter.edu.

2) Complete all required essays described on the application.

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1,772: NUMBER OF UNDERGRADUATE STUDENTS IN 2009

3) Submit the non-refundable application fee. The nonrefundable application fee is $50 for

U.S. citizens and permanent alien residents or $70 for students requiring an F-1 student visa. Fee waiver requests can be submitted from the College Board or requested by a guidance counselor or financial aid officer.

4) Submit your official high school and college transcripts.

– Request that your transcripts be sent directly from your high school and/or colleges to the Admissions Office.

– High school transcripts or a 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 General Equivalency Diploma (G.E.D.) prior to their enrollment. Home-schooled students should submit transcripts that include course titles, grades, credits, and signature of the home-school administrator.

– College transcripts should be requested from each individual college attended.

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

– Non-degree programs: If you have attended a non-degree school program or tutorial, list it on your application.

– Once submitted, all documents become the property of the College and cannot be returned to the applicant.

5) Submit official copies of SAT or ACT scores. Students currently enrolled in a U.S. high

school should request SAT or ACT scores be sent directly from the applicable testing agency.

6) Submit TOEFL (Test of English as Foreign Language) if applicable.

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

– A score of 80 is required, and each section of the score will be evaluated for proficiency. Scores must come directly from ETS and must have been taken within two years prior to the time of application.

7) Submit a portfolio of your original work.– Refer to the Portfolio Requirement section

for details on the specific requirements for your chosen major.

– Complete the Portfolio Return Form (found with the online application) and submit it with your application or with your portfolio.

– Mail your portfolio by insured mail to the Admissions Office or bring it in person Monday–Friday, 8:30 am–4:30 pm.

– Submit a check or money order made payable to Art Center in U.S. dollars for return post-age if shipping outside the U.S. No payment is required for shipping within the U.S.

– Accepted applicants who are applying for scholarships and financial aid should be prepared to leave their portfolios on file for scholarship review, or resubmit their portfolios by the priority scholarship application deadline.


1,772: NUMBER OF UNDERGRADUATE STUDENTS IN 2009

3) Submit the non-refundable application fee. The nonrefundable application fee is $50 for

U.S. citizens and permanent alien residents or $70 for students requiring an F-1 student visa. Fee waiver requests can be submitted from the College Board or requested by a guidance counselor or financial aid officer.

4) Submit your official high school and college transcripts.

– Request that your transcripts be sent directly from your high school and/or colleges to the Admissions Office.

– High school transcripts or a 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 com-pleting high school or a General Equivalency Diploma (G.E.D.) prior to their enrollment. Home-schooled students should submit transcripts that include course titles, grades, credits, and signature of the home-school administrator.

– College transcripts should be requested from each individual college attended.

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

– Non-degree programs: If you have attended a non-degree school program or tutorial, list it on your application.

– Once submitted, all documents become the property of the College and cannot be returned to the applicant.

5) Submit official copies of SAT or ACT scores. Students currently enrolled in a U.S. high

school should request SAT or ACT scores be sent directly from the applicable testing agency.

6) Submit TOEFL (Test of English as Foreign Language) if applicable.

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

– A score of 80 is required, and each section of the score will be evaluated for proficiency. Scores must come directly from ETS and must have been taken within two years prior to the time of application.

7) Submit a portfolio of your original work.– Refer to the Portfolio Requirement section

for details on the specific requirements for your chosen major.

– Complete the Portfolio Return Form (found with the online application) and submit it with your application or with your portfolio.

– Mail your portfolio by insured mail to the Admissions Office or bring it in person Monday–Friday, 8:30 am–4:30 pm.

– Submit a check or money order made payable to Art Center in U.S. dollars for return post-age if shipping outside the U.S. No payment is required for shipping within the U.S.

– Accepted applicants who are applying for scholarships and financial aid should be prepared to leave their portfolios on file for scholarship review, or resubmit their portfolios by the priority scholarship application deadline.

ADMISSIONS

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Portfolio RequirementsMeet with an Admissions Counselor for advice on preparation of your portfolio at a National Portfolio Day or by appointment in our Admissions Office.

– Art Center requires a major-specific portfolio. Find your major in this section and follow the portfolio requirements listed. Read the requirements for each major to determine whether originals are required or if color copies or CD format are acceptable. Don’t submit framed or rolled work.

– Affix your name and the date of completion on each piece (back or front).

– Although great care is taken, Art Center does not accept responsibility for loss of or damage to portfolios.

– Instruct us how to return your portfolio via the Portfolio Return Form to be included with your portfolio. You can pick up your portfolio from us during Admissions office hours or we will mail it back to you, insured for $100. Space consideration may necessi- tate the disposal of portfolios not claimed within six months after review.

Portfolio Requirements by MajorAdvertisingAdvertising majors should demonstrate innovative thinking with words and images to promote products or ideas through ads.

Work should demonstrate a fresh, original way of looking at things, possibly incorporating humor or other means by which the public’s attention is drawn to the ad. Your advertising portfolio work should be clean, clear and well- presented, but spend the majority of your time coming up with interesting, sharp, original, I-never-would-have-thought-of-that ads. The quality of your thinking is more important than the finish.

If you have previous experience in advertising (either professionally or in coursework), submit 8 to 10 original print advertising concepts. These should demonstrate your facility with both copy (words) and visuals. Include preliminary sketches demonstrating your idea-generation process. If you’ve worked in video or created ads in other media, include those as well.

If you have no previous experience in advertising, submit at least five pieces that demonstrate your creativity and your ability to represent your ideas visually. In addition, we’ve created some assignments to help you demonstrate your potential for advertising. Select three or four assignments from suggestions below or substitute equivalent assignments of your own devising. Create these through drawings, photography, photo-collage, digital images or any combination of these.

– Select an existing print ad and recreate it. Make it better.

– Create a print campaign that sells you to Art Center. These could include multiple versions of magazine or newspaper ads or posters. Each ad should emphasize a different one of your good qualities.

– Create a print ad (magazine, newspaper or poster) promoting any one of the seven deadly sins.

– Design a campaign to teach preteens the importance of staying in school.

– Go to a hardware store and pick up 10 paint color chips. Cross out the names, and rename the colors. All the names must relate to sleep.

Entertainment DesignThe task of a concept designer for the entertain-ment industry is to provide an infinite number of design variations of characters, environments, vehicles and props for stories taking place in the past, present or future. Your portfolio should include examples of your original design ideas created for a story of your invention or an existing story. These should be well-communicated through drawings and renderings. Examples in all four of the major subject topics—environments, characters, vehicles and props—should be

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Portfolio RequirementsPortfolio RequirementsMeet with an Admissions Counselor for advice on preparation of your portfolio at a National Portfolio Day or by appointment in our Admissions Office.

– Art Center requires a major-specific portfolio. Find your major in this section and follow the portfolio requirements listed. Read the requirements for each major to determine whether originals are required or if color copies or CD format are acceptable. Don’t submit framed or rolled work.

– Affix your name and the date of completion on each piece (back or front).

– Although great care is taken, Art Center does not accept responsibility for loss of or damage to portfolios.

– Instruct us how to return your portfolio via the Portfolio Return Form to be included with your portfolio. You can pick up your portfolio from us during Admissions office hours or we will mail it back to you, insured for $100. Space consideration may necessi-tate the disposal of portfolios not claimed within six months after review.

Portfolio RequirementsPortfolio Requirementsby Majorby MajorAdvertisingAdvertisingAdvertising majors should demonstrate innova-tive thinking with words and images to promote products or ideas through ads.

Work should demonstrate a fresh, original way of looking at things, possibly incorporating humor or other means by which the public’s attention is drawn to the ad. Your advertising portfolio work should be clean, clear and well-presented, but spend the majority of your time coming up with interesting, sharp, original, I-never-would-have-thought-of-that ads. The quality of your thinking is more important than the finish.

If you have previous experienceIf you have previous experience in advertising (either professionally or in coursework), submit 8 to 10 original print advertising concepts. These should demonstrate your facility with both copy (words) and visuals. Include preliminary sketches demonstrating your idea-generation process. If you’ve worked in video or created ads in other media, include those as well.

If you have no previous experienceIf you have no previous experience in advertising, submit at least five pieces that demonstrate your creativity and your ability to represent your ideas visually. In addition, we’ve created some assignments to help you demon-strate your potential for advertising. Select three or four assignments from suggestions below or substitute equivalent assignments of your own devising. Create these through drawings, photography, photo-collage, digital images or any combination of these.

– Select an existing print ad and recreate it. Make it better.

– Create a print campaign that sells you to Art Center. These could include multiple versions of magazine or newspaper ads or posters. Each ad should emphasize a different one of your good qualities.

– Create a print ad (magazine, newspaper or poster) promoting any one of the seven deadly sins.

– Design a campaign to teach preteens the importance of staying in school.

– Go to a hardware store and pick up 10 paint color chips. Cross out the names, and rename the colors. All the names must relate to sleep.

Entertainment DesignEntertainment DesignThe task of a concept designer for the entertain-ment industry is to provide an infinite number of design variations of characters, environments, vehicles and props for stories taking place in the past, present or future. Your portfolio should include examples of your original design ideas created for a story of your invention or an exist-ing 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

193

23%: PERCENTAGE OF INTERNATIONAL STUDENTS

included in your portfolio. Include both early concept design sketches and more finished renderings to demonstrate your thinking process. Emphasize well-drawn original design variations more than highly finished color renderings. Color copies or prints may be submitted in lieu of original color work. Do not submit your work on a CD. Sketchbooks are a welcome addition. Traditional media sketches, pencil, pen and/or imagery created digitally and presented as a print are acceptable.

Space is extremely limited in this program. Students who have a strong interest in another major may indicate another choice of major on their applications and fulfull those portfolio requirements. However, they should do so only if they are prepared to commit to that major. It is not possible to transfer into Entertainment Design from another major after enrollment.

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 accom-panied by 3D representations. Creative design concepts are as important as drawing and model-making skills. A descriptive paragraph explaining the design concept and solution should be included with each project submitted.

Color copies of sketches and models are acceptable in lieu of originals. Other art and design related works can be included.

FilmSubmit completed film or video projects of at least five but no longer than 20 minutes total running time. The filmed work should tell a story or present a point of view, rather than simply record a situation. The work should demon-strate concern for visual composition, staging, editing, sound and competent post-production.

Submitted work may be a documentary, drama, comedy or several 30- to 60-second commercial spots or music videos. Still photographs, prints and artwork are helpful additions, but do not replace the required film work. If the work is collaborative, indicate your role on each production.

Portfolio work is only accepted on NTSC DVDs, and should be authored with properly working menus if there is more than one piece to view. Care should be taken with the compression of the video and the packaging of the DVD in order to best present your work.

Fine ArtInclude a representative selection of your work in any media. In addition to submitting examples of foundation skills, also present personal work that reveals experimentation and imagination. Any direction and any medium will be considered, including all forms of drawing, representational and nonobjective painting, sculpture, printmak-ing, photography, film, video and installation documentation. Conceptual work and artist’s statements are also welcome.

For larger works, or if the originals are not available, submit color copies.

Applicants seeking to major in Fine Art with a focus on Photography and Imaging should also submit at least eight photographs.

Graphic DesignInclude layouts or comprehensives for graphic design projects, such as posters, brochures, editorial design, package design, motion graph-ics, 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.


23%: PERCENTAGE OF INTERNATIONAL STUDENTS

included in your portfolio. Include both early concept design sketches and more finished renderings to demonstrate your thinking process. Emphasize well-drawn original design variations more than highly finished color renderings. Color copies or prints may be submitted in lieu of original color work. Do not submit your work on a CD. Sketchbooks are a welcome addition. Traditional media sketches, pencil, pen and/or imagery created digitally and presented as a print are acceptable.

Space is extremely limited in this program. Students who have a strong interest in another major may indicate another choice of major on their applications and fulfull those portfolio requirements. However, they should do so only if they are prepared to commit to that major. It is not possible to transfer into Entertainment Design from another major after enrollment.

Environmental DesignEnvironmental 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 accom-panied by 3D representations. Creative design concepts are as important as drawing and model-making skills. A descriptive paragraph explaining the design concept and solution should be included with each project submitted.

Color copies of sketches and models are acceptable in lieu of originals. Other art and design related works can be included.

FilmSubmit completed film or video projects of at least five but no longer than 20 minutes total running time. The filmed work should tell a story or present a point of view, rather than simply record a situation. The work should demon-strate concern for visual composition, staging, editing, sound and competent post-production.

Submitted work may be a documentary, drama, comedy or several 30- to 60-second commercial spots or music videos. Still photo-graphs, prints and artwork are helpful additions,but do not replace the required film work. If the work is collaborative, indicate your role on each production.

Portfolio work is only accepted on NTSC DVDs, and should be authored with properly working menus if there is more than one piece to view. Care should be taken with the compression of the video and the packaging of the DVD in order to best present your work.

Fine ArtInclude a representative selection of your work in any media. In addition to submitting examples of foundation skills, also present personal work that reveals experimentation and imagination. Any direction and any medium will be considered, including all forms of drawing, representational and nonobjective painting, sculpture, printmak-ing, photography, film, video and installation documentation. Conceptual work and artist’s statements are also welcome.

For larger works, or if the originals are not available, submit color copies.

Applicants seeking to major in Fine Art with a focus on Photography and Imaging should also submit at least eight photographs.

Graphic DesignGraphic DesignInclude layouts or comprehensives for graphic design projects, such as posters, brochures, editorial design, package design, motion graph-ics, 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 develop-ment and variation of your ideas.

Evidence of an understanding of and passion for typography is a must.

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Samples of logotypes, lettering, life drawing and general color and design assignments should be included. If submitted work has been produced, attach an explanation of the role you played in the creation of the work. Color copies are acceptable in lieu of originals. Motion work should be submitted as storyboards as well as on CD (Quicktime files that are optimized at 200 MB or less and Mac-compatible). Submit print work via color copy or original format.

IllustrationSubmit 10 to 15 original figure drawings from life that include both gestural and more developed pieces. These should include a demonstration of sense of proportion and an understanding of light, shadow and line. Other observational drawings or paintings from life such as sketches of people, self-portraits, animals and scenes from nature and cityscapes should be included.

Also submit five or more imaginative drawings or paintings that demonstrate a story or communicate an idea. These illustrations should include use of color and composition. Entertainment-related pieces such as character development can also be included. Sketch-books that demonstrate your observations and thought process are recommended.

Photography and ImagingSubmit a minimum of 25 black-and-white, color or digital prints. Slides are not acceptable. Any combination of these is acceptable, but do not submit black-and-white exclusively. Photos should reflect a connection between idea and technique and display the applicant’s strengths in implementing an original image and vision. A variety of subjects and concept exploration are encouraged, but should include shots of people as subject matter. Projects and series can be included, but should not exclude a variety of other subject matter.

Prints should be at least 8 x 10 inches and no larger than 16 x 20 inches. They should include related contact sheets when applicable. Works should be mounted, matted on boards or placed in clear pages in a binder or portfolio case.

Product DesignSubmit research/inspiration, sketches and finished drawings of three or more original product design projects (furniture, lighting, medical and computer equipment or consumer products such as appliances, tools, sporting goods, communications devices, toys or home accessories). Emphasis should be on the function of the product, as well as the aesthetics and originality of the design.

Projects should show a thorough researching and exploration of a product from beginning through intermediate sketches to a final finished rendering of the product. Sketches should show a variety of solutions and decision-making, emphasizing innovative concepts or features of your ideas. Inclusion of models is optional. Include sketchbooks with additional product thinking and ideas.

Color copies are acceptable in lieu of original drawings, but work should not be submitted on CD. Date each piece of your work.

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. Submit four to five complete projects that show your original transportation design concepts through a series of sketches. These should represent a variety of types of vehicles.

Inclusion of designs for non-vehicular products is encouraged. Drawing (non-digital) should be the primary means for communica-tion of ideas. Submit ideas in project format: title and goal of project, research, audience, preliminary and final sketches.

Inclusion of informal sketches (loose or in notebook form) that show idea development is highly recommended. Color copies are acceptable in lieu of originals, but do not submit work on CD.

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Samples of logotypes, lettering, life drawing and general color and design assignments should be included. If submitted work has been produced, attach an explanation of the role you played in the creation of the work. Color copies are acceptable in lieu of originals. Motion work should be submitted as storyboards as well as on CD (Quicktime files that are optimized at 200 MB or less and Mac-compatible). Submit print work via color copy or original format.

IllustrationSubmit 10 to 15 original figure drawings from life that include both gestural and more developed pieces. These should include a demonstration of sense of proportion and an understanding of light, shadow and line. Other observational drawings or paintings from life such as sketches of people, self-portraits, animals and scenes from nature and cityscapes should be included.

Also submit five or more imaginative drawings or paintings that demonstrate a story or communicate an idea. These illustrations should include use of color and composition. Entertainment-related pieces such as character development can also be included. Sketch-books that demonstrate your observations and thought process are recommended.

Photography and ImagingPhotography and ImagingSubmit a minimum of 25 black-and-white, color or digital prints. Slides are not acceptable. Any combination of these is acceptable, but do not submit black-and-white exclusively. Photos should reflect a connection between idea and technique and display the applicant’s strengths in implementing an original image and vision. A variety of subjects and concept exploration are encouraged, but should include shots of people as subject matter. Projects and series can be included, but should not exclude a variety of other subject matter.

Prints should be at least 8 x 10 inches and no larger than 16 x 20 inches. They should include related contact sheets when applicable. Works should be mounted, matted on boards or placed in clear pages in a binder or portfolio case.

Product DesignProduct DesignSubmit research/inspiration, sketches and finished drawings of three or more original product design projects (furniture, lighting, medical and computer equipment or consumer products such as appliances, tools, sporting goods, communications devices, toys or home accessories). Emphasis should be on the function of the product, as well as the aesthetics and originality of the design.

Projects should show a thorough researching and exploration of a product from beginning through intermediate sketches to a final finished rendering of the product. Sketches should show a variety of solutions and decision-making, emphasizing innovative concepts or features of your ideas. Inclusion of models is optional. Include sketchbooks with additional product thinking and ideas.

Color copies are acceptable in lieu of original drawings, but work should not be submitted on CD. Date each piece of your work.

Transportation DesignTransportation DesignPortfolio submissions should demonstrate a passion for and curiosity about the future of transportation, including cars, trucks, public transportation, boats, motorcycles or alternative mobility. Submit four to five complete projects that show your original transportation design concepts through a series of sketches. These should represent a variety of types of vehicles.

Inclusion of designs for non-vehicular products is encouraged. Drawing (non-digital) should be the primary means for communica-tion of ideas. Submit ideas in project format: title and goal of project, research, audience, preliminary and final sketches.

Inclusion of informal sketches (loose or in notebook form) that show idea development is highly recommended. Color copies are accept-able in lieu of originals, but do not submit work on CD.

195

23: AVERAGE AGE OF NEW STUDENTS

Dates and DeadlinesArt Center reviews and accepts applications on an ongoing or rolling basis for most undergrad-uate majors until a department is full for any given term. There are no specific admissions deadlines with the exception of priority application deadlines for scholarship applicants.

You can apply to enter for the Fall, Spring or Summer term for most majors, with the excep-tion of Advertising, Fine Art and Entertainment Design, which accept applications for the Fall and Spring terms only. Entertainment Design has a priority deadline of February 1 for Fall, and the decision to have a Spring entry class varies from year to year. Students can call Admissions to check the status of a potential Spring class. Once enrolled, Entertainment Design students take studio classes in the Fall and Spring terms only. They may take Humanities and Design Sciences classes in the Summer Term.

Students can be considered for scholarship and financial aid at most times during the admissions cycle, but priority scholarship deadlines by which to submit the application materials and FAFSA are:

Spring term: October 1Summer term: February 1Fall term: March 1

If room is unavailable in the term for which you are applying, the Admissions Committee will consider your application for the next consecutive available term.

Notifications, Tuition Deposit and DeferralsApplication 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 infor-mation leads to serious concerns.

A health certificate including tuberculosis test requirement will be mailed on acceptance and must be returned to the Admissions Office before orientation.

Upon being admitted to the College, any per-son with a disability who might require special accommodation should discuss his or her needs with the Center for Student Experience staff.

Students can request a copy of Art Center’s student handbook, which contains additional policy information. A copy will be provided to all students at orientation.

Tuition DepositOn acceptance, an enrollment agreement form and further instructions will be issued. The completed agreement, along with a $300 nonrefundable and nontransferable tuition deposit, is required to hold your place in the class. Tuition deposits will be accepted until classes are full for each term; acceptance does not guarantee a place in the class. A student’s place in the class cannot be assured until the College has sent the student a written confirmation of acceptance of the agreement and deposit. These are accepted on a first-come, first-served basis until the classes are filled.

The availability of space can change rapidly. Students will be offered a place in the next available term as possible if they have been accepted but no space is currently available.

DeferralsAccepted applicants can defer their admission for one consecutive term following their accept-ance (provided there is room). The $300 tuition deposit will apply only to the term of original acceptance; only the acceptance, not the deposit, can be carried over. A new deposit is required for the subsequent term; each fee is nonrefundable.

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


23: AVERAGE AGE OF NEW STUDENTS

Dates and DeadlinesArt Center reviews and accepts applications on an ongoing or rolling basis for most undergrad-uate majors until a department is full for any given term. There are no specific admissions deadlines with the exception of priority appli-cation deadlines for scholarship applicants.

You can apply to enter for the Fall, Spring or Summer term for most majors, with the excep-tion of Advertising, Fine Art and Entertainment Design, which accept applications for the Fall and Spring terms only. Entertainment Design has a priority deadline of February 1 for Fall, and the decision to have a Spring entry class varies from year to year. Students can call Admissions to check the status of a potential Spring class. Once enrolled, Entertainment Design students take studio classes in the Fall and Spring terms only. They may take Humanities and Design Sciences classes in the Summer Term.

Students can be considered for scholarship and financial aid at most times during the admissions cycle, but priority scholarship deadlines by which to submit the application materials and FAFSA are:

Spring term: October 1Spring term: October 1Summer term: February 1Summer term: February 1Fall term: March 1

If room is unavailable in the term for which you are applying, the Admissions Committee will consider your application for the next consecutive available term.

Notifications, Tuition DepositNotifications, Tuition Depositand DeferralsApplication NotificationsApplication 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 infor-mation leads to serious concerns.

A health certificate including tuberculosis test requirement will be mailed on acceptance and must be returned to the Admissions Office before orientation.

Upon being admitted to the College, any per-son with a disability who might require special accommodation should discuss his or her needs with the Center for Student Experience staff.


Tuition DepositTuition DepositOn acceptance, an enrollment agreement form and further instructions will be issued. The completed agreement, along with a $300 non-refundable and nontransferable tuition deposit, is required to hold your place in the class. Tuition deposits will be accepted until classes are full for each term; acceptance does not guarantee a place in the class. A student’s place in the class cannot be assured until the College has sent the student a written confirmation of acceptance of the agreement and deposit. These are accepted on a first-come, first-served basis until the classes are filled.

The availability of space can change rapidly. Students will be offered a place in the next available term as possible if they have been accepted but no space is currently available.

DeferralsAccepted applicants can defer their admission for one consecutive term following their accept-ance (provided there is room). The $300 tuition deposit will apply only to the term of original acceptance; only the acceptance, not the deposit, can be carried over. A new deposit is required for the subsequent term; each fee is nonrefundable.

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

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Transfer CreditFor a detailed description of eligible transfer credit by category, visit the Admissions section of the Art Center website.

A maximum of 60 units of studio and aca-demic credits may be transferred from another accredited institution. Art Center recognizes two types of transfer credit: credit for studio art classes, and credit for Humanities and Design Sciences (liberal arts) classes.

Receipt of studio transfer credit, not Humanities and Design Sciences credit, determines the length of a student’s program at Art Center. Advanced standing is awarded only if the student receives studio art credit.

Transfer credit will be accepted from col-leges 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 Design Sciences classes based on an official score of 4 or 5 from Educational Testing Services (ETS). Art Center does not offer studio art credit for AP classes or CLEP.

All studio and Humanities and Design Sciences transfer credit must be finalized by the end of a student’s first term at Art Center. 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 admission.

In addition to credit for prior college work, students may also be granted a maximum of 12 credits based on professional work experience.

A transfer student’s program will be short- ened only if one or more terms of studio transfer credit is awarded. The number of Humanities and Design Sciences credits transferred does not affect the length of the program but will lighten the course load.

Studio courses taken through Art Center at Night, Art 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 Design Sciences CreditForty-five credits of Humanities and Design Sciences (HDS) are required for graduation. Some credits may be transferred, depending upon the major.

A number of required liberal arts and sciences courses can be taken only at Art Center. These vary by major.

Credits accepted for transfer must fall into these categories: Human, Culture, Material Environment and Professional Practice.

This PDF <http://www.artcenter.edu/accd/files/HDS_Requirements.pdf> describes general types of courses that fall into these categories. Other courses may qualify for transfer at the discretion of Enrollment Services.

Credit is transferable for humanities and design sciences courses taken at another regionally accredited college in which a grade of C or better has been achieved for elective courses, or a grade of B or better for program/required courses.

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Transfer CreditFor a detailed description of eligible transfer credit by category, visit the Admissions section of the Art Center website.

A maximum of 60 units of studio and aca-demic credits may be transferred from another accredited institution. Art Center recognizes two types of transfer credit: credit for studio art classes, and credit for Humanities and Design Sciences (liberal arts) classes.

Receipt of studio transfer credit, not Humanities and Design Sciences credit, deter-mines 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 col-leges 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 Design Sciences classes based on an official score of 4 or 5 from Educational Testing Services (ETS). Art Center does not offer studio art credit for AP classes or CLEP.

All studio and Humanities and Design Sciences transfer credit must be finalized by the end of a student’s first term at Art Center. 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 combi-nation of portfolio work and prior college credit. Portfolios are evaluated for studio credit at the time of admission.

In addition to credit for prior college work, students may also be granted a maximum of 12 credits based on professional work experience.

A transfer student’s program will be short-ened only if one or more terms of studio transfer credit is awarded. The number of Humanities and Design Sciences credits transferred does not affect the length of the program but will lighten the course load.

Studio courses taken through Art Center at Night, Art 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 Design Sciences CreditHumanities and Design Sciences CreditForty-five credits of Humanities and Design Sciences (HDS) are required for graduation. Some credits may be transferred, depending upon the major.

A number of required liberal arts and sciences courses can be taken only at Art Center. These vary by major.

Credits accepted for transfer must fall into these categories: Human, Culture, Material Environment and Professional Practice.

This PDF <http://www.artcenter.edu/accd/files/HDS_Requirements.pdf> describes general types of courses that fall into these categories. Other courses may qualify for transfer at the discretion of Enrollment Services.

Credit is transferable for humanities and design sciences courses taken at another regionally accredited college in which a grade of C or better has been achieved for elective courses, or a grade of B or better for program/required courses.

197

28%: PERCENTAGE OF STUDENTS FROM OUTSIDE CALIFORNIA

Undergraduate students who have not previously completed a college-level English composition class from a regionally accredited U.S. college or university where the primary language of instruction is in English with a B or better, or AP test of 4 or 5 in English Composition or English literature are required to take a Writing Placement Test for purposes of placing you in the correct level of our required writing class during the orientation program.

Classes taken at non-U.S. colleges in which the language of instruction is English will be evaluated on an individual basis. Any exception to the testing policy will be made on a case-by-case basis by the Chair of the Humanities and Design Sciences or his/her designee.

Arrival and HousingWe hope that you will call on the Admissions staff to help with questions or needs related to your arrival.

We recommend that you arrive at least two weeks before classes if you are moving to Pasadena from within the U.S. If you are an international student, we recommend you arrive three to four weeks before the beginning of the term to find housing, get a driver’s license, and get accustomed to Pasadena.

While Art Center does not offer on-campus housing, the Center for the Student Experience coordinates information regarding local housing and roommate options (see page 186). This resource is available for admitted and current students and includes a variety of living arrangements including rooms within homes, guest houses, apartments and houses for rent.

Art Center arranges with Universal Student Housing (USH) to make their listings available to Art Center students. USH lists affordable housing in the homes of approved local families and individuals.

New Student Orientation and Class SchedulingNew students attend a mandatory orientation program held the week before the first day of the term. The orientation schedule will be sent the month prior to the start term to students who have submitted their tuition deposit.

Students will prepare for their Art Center experience by receiving valuable information on campus life, academic expectations and policies; 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.


28%: PERCENTAGE OF STUDENTS FROM OUTSIDE CALIFORNIA

Undergraduate students who have not previously completed a college-level English composition class from a regionally accredited U.S. college or university where the primary language of instruction is in English with a B or better, or AP test of 4 or 5 in English Composition or English literature are required to take a Writing Placement Test for purposes of placing you in the correct level of our required writing class during the orientation program.

Classes taken at non-U.S. colleges in which the language of instruction is English will be evaluated on an individual basis. Any exception to the testing policy will be made on a case-by-case basis by the Chair of the Humanities and Design Sciences or his/her designee.

Arrival and HousingArrival and HousingWe hope that you will call on the Admissions staff to help with questions or needs related to your arrival.

We recommend that you arrive at least two weeks before classes if you are moving to Pasadena from within the U.S. If you are an international student, we recommend you arrive three to four weeks before the beginning of the term to find housing, get a driver’s license, and get accustomed to Pasadena.

While Art Center does not offer on-campus housing, the Center for the Student Experience coordinates information regarding local housing and roommate options (see page 186). This resource is available for admitted and current students and includes a variety of living arrangements including rooms within homes, guest houses, apartments and houses for rent.

Art Center arranges with Universal Student Housing (USH) to make their listings available to Art Center students. USH lists affordable housing in the homes of approved local families and individuals.

New Student Orientationand Class Schedulingand Class SchedulingNew students attend a mandatory orientation program held the week before the first day of the term. The orientation schedule will be sent the month prior to the start term to students who have submitted their tuition deposit.

Students will prepare for their Art Center experience by receiving valuable information on campus life, academic expectations and policies; 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.

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Applications for admission to the graduate program are submitted to the Admissions Office. The faculty and chair of the specific graduate program make the evaluation and final admis-sions decision regarding each candidate.

Graduate programs are normally six terms in length, with the exceptions of Broadcast Cinema, which is a four term program, and Media Design, which offers a four term path of study for experienced designers.


Visiting– Tour: Student-led tours of our Hillside

Campus are held Monday–Friday at 2 pm.

– Call Admissions at 626-396-2373 to arrange a visit directly with the department to which you are applying. The Art and Media Design programs are housed at South Campus.

Programs of StudyMaster of Fine Arts (M.F.A.)ArtBroadcast Cinema (Film)Media Design

Master of Science (M.S.)Industrial Design

Graduate Application and Portfolio RequirementsThe following materials constitute a complete application. No application will be reviewed until all of these materials have been received.

General requirements for all majors:1) A completed admission application.

This can be downloaded or completed online at applyweb.com/apply/accd.

2) A nonrefundable application fee. A nonrefundable application fee of $50 for U.S. citizens and permanent aliens or $70 for non-U.S. citizens and non-U.S. permanent alien residents.

3) Official transcripts from all colleges attended. A completed undergraduate degree must be verified prior to enrollment.

4) A TOEFL score of 100 or higher for international students. Graduate applicants whose bachelor’s degree was achieved in a language other than English must score at least 100 on the Internet-based TOEFL (iBT) to be considered for admission.

5) Major specific requirements. Please refer to the text below for additional requirements by program.

ArtGraduate Art applicants can apply for the Fall, Spring or Summer terms on a rolling admissions basis. However, committee reviews do not take place during the summer. During the fall and spring, candidates will typically receive notification within two months after all materials are submitted. Notifications of financial aid or scholarships usually occur shortly after.

1) Complete all general graduate admissions requirements.

2) Submit your work. The MFA program in Art is open to candidates

working in any medium. Applications may take the form of video, DVD or CD in Mac-compatible format.

Candidates working with film, video, performance or sound should send complete examples of each piece. Do not send original work or documentation that cannot be projected.

3) A letter of intent. A letter of intent of 1,000 words or less that includes discussion of your work and goals. There should be references to works of art, and ideas about art that you have found especially useful, in addition to any other relevant thoughts or information.

4) Your résumé. A short résumé covering educational and relevant experience.

Graduate Admissions

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Applications for admission to the graduate program are submitted to the Admissions Office. The faculty and chair of the specific graduate program make the evaluation and final admis-sions decision regarding each candidate.

Graduate programs are normally six terms in length, with the exceptions of Broadcast Cinema, which is a four term program, and Media Design, which offers a four term path of study for experienced designers.


VisitingVisiting– Tour: Student-led tours of our Hillside

Campus are held Monday–Friday at 2 pm.

– Call Admissions at 626-396-2373 to arrange a visit directly with the department to which you are applying. The Art and Media Design programs are housed at South Campus.

Programs of StudyPrograms of StudyMaster of Fine Arts (M.F.A.)ArtBroadcast Cinema (Film)Media Design

Master of Science (M.S.)Industrial Design

Graduate Application andGraduate Application andPortfolio RequirementsPortfolio RequirementsThe following materials constitute a complete application. No application will be reviewed until all of these materials have been received.

General requirements for all majors:General requirements for all majors:1) A completed admission application.

This can be downloaded or completed online at applyweb.com/apply/accd.

2) A nonrefundable application fee.A nonrefundable application fee of $50 for U.S. citizens and permanent aliens or $70 for non-U.S. citizens and non-U.S. permanent alien residents.

3) Official transcripts from all colleges attended.A completed undergraduate degree must be verified prior to enrollment.

4) A TOEFL score of 100 or higher for international students.Graduate applicants whose bachelor’s degree was achieved in a language other than English must score at least 100 on the Internet-based TOEFL (iBT) to be considered for admission.

5) Major specific requirements. Please refer to the text below for additional requirements by program.

ArtGraduate Art applicants can apply for the Fall, Spring or Summer terms on a rolling admissions basis. However, committee reviews do not take place during the summer. During the fall and spring, candidates will typically receive notifi-cation within two months after all materials are submitted. Notifications of financial aid or scholarships usually occur shortly after.


2) Submit your work.The MFA program in Art is open to candidates MFA program in Art is open to candidates MFAworking in any medium. Applications may take the form of video, DVD or CD in Mac-compatible format.

Candidates working with film, video, performance or sound should send complete examples of each piece. Do not send original work or documentation that cannot be projected.

3) A letter of intent.A letter of intent of 1,000 words or less that includes discussion of your work and goals. There should be references to works of art, and ideas about art that you have found especially useful, in addition to any other relevant thoughts or information.

4) Your résumé.Your résumé.YA short résumé covering educational and relevant experience.

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173: NUMBER OF GRADUATE STUDENTS IN 2009

5) Optional: letters of recommendation. Letters of recommendation are encouraged, but are not required.

Broadcast CinemaBroadcast Cinema applicants can apply for the Fall term only and are usually reviewed within one month after submission.


2) Submit your work. Submit completed film or video projects of

at least three minutes total running time, but no longer then 20 minutes. The filmed work should tell a story or present a point of view, rather than simply record a situation. The work should demonstrate concern for photographic composition, staging, editing, sound and competent post-production. Submitted work may be a documentary, drama, comedy or several 30- to 60-second commercial spots or music videos.

Still photographs, prints and artwork are helpful additions but do not replace the required film work.

Portfolio work is accepted on NTSC DVDs only, and should be authored with properly working menus if there is more than one piece to view. Care should also be taken with the compression of the video and the packaging of the DVD in order to best present one’s work.

In the written statement accompanying the application, we are particularly interested in learning what inspired you to make films, what sorts of films you’d like to make, and a little about your favorite, most inspirational filmmakers.

3) A graduate proposal. A graduate proposal that defines a film project that applicants feel will engage them during their course of study. While the proposal may of necessity be preliminary, it must be specific. It will not be so much autobiographical or a vision statement, but a one- to- five-page plan for a potential studio project. Applicants should outline their goals, including a preliminary proposal for a self-directed film project.

4) Your résumé. A short résumé covering educational and relevant experience.

Industrial DesignApplications for Industrial Design are accepted for the Fall term only. Applications are due on February 1 for priority consideration, including potential for scholarship awards. Decisions are made in the month of March. If space is available, an additional review of applications will take place.

The Industrial Design program is looking for bright, articulate, intellectual, literate and social individuals. Our student body typically includes a majority of students with Industrial Design undergraduate degrees and various levels of professional experience in that arena. Professional experience resulting in market-tested designs is preferred.

Candidates with a wide variety of under-graduate degrees and professional experience are also considered. Diversity and breadth of background plays an important role in defining the cross-disciplinary culture of the program.


2) Submit your portfolio. Submit a portfolio of work demonstrating your design abilities. We are interested in seeing examples of projects that show your process and how you develop ideas into the project results. Sketchbooks are welcome additions to finished portfolios. The following are especially important:

– Ability to make appropriate and human-centered designs.

– Ability to take a systems approach to design solutions, demonstrating an understanding of the context, business, technological and human-related aspects.

– Ability to write and communicate effectively.

– Ability to display an understanding of and experience with 3D form and design.

– Effective drawing and other visualization abilities.


173: NUMBER OF GRADUATE STUDENTS IN 2009

5) Optional: letters of recommendation.Letters of recommendation are encouraged, but are not required.

Broadcast CinemaBroadcast Cinema applicants can apply for the Fall term only and are usually reviewed within one month after submission.


2) Submit your work.Submit completed film or video projects of at least three minutes total running time, but no longer then 20 minutes. The filmed work should tell a story or present a point of view, rather than simply record a situation. The work should demonstrate concern for photographic composition, staging, editing, sound and competent post-production. Submitted work may be a documentary, drama, comedy or several 30- to 60-second commercial spots or music videos.

Still photographs, prints and artwork are helpful additions but do not replace the required film work.

Portfolio work is accepted on NTSC DVDs only, and should be authored with properly working menus if there is more than one piece to view. Care should also be taken with the compression of the video and the packaging of the DVD in order to best present one’s work.

In the written statement accompanying the application, we are particularly interested in learning what inspired you to make films, what sorts of films you’d like to make, and a little about your favorite, most inspirational filmmakers.

3) A graduate proposal.A graduate proposal that defines a film project that applicants feel will engage them during their course of study. While the proposal may of necessity be preliminary, it must be specific. It will not be so much autobiographical or a vision statement, but a one- to- five-page plan for a potential studio project. Applicants should outline their goals, including a preli-minary proposal for a self-directed film project.

4) Your résumé.Your résumé.YA short résumé covering educational and relevant experience.

Industrial DesignIndustrial DesignApplications for Industrial Design are accepted for the Fall term only. Applications are due on February 1 for priority consideration, including potential for scholarship awards. Decisions are made in the month of March. If space is available, an additional review of applications will take place.

The Industrial Design program is looking for bright, articulate, intellectual, literate and social individuals. Our student body typically includes a majority of students with Industrial Design undergraduate degrees and various levels of professional experience in that arena. Professional experience resulting in market-tested designs is preferred.

Candidates with a wide variety of under-graduate degrees and professional experience are also considered. Diversity and breadth of background plays an important role in defining the cross-disciplinary culture of the program.


2) Submit your portfolio.Submit a portfolio of work demonstrating your design abilities. We are interested in seeing examples of projects that show your process and how you develop ideas into the project results. Sketchbooks are welcome additions to finished portfolios. The following are especially important:

– Ability to make appropriate and human-centered designs.

– Ability to take a systems approach to design solutions, demonstrating an understanding of the context, business, technological and human-related aspects.

– Ability to write and communicate effectively.

– Ability to display an understanding of and experience with 3D form and design.

– Effective drawing and other visualization abilities.

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– Demonstration of a great aesthetic design sensibility and ability—for style, proportion, shape, material, color, etc.

– Ability to select important projects and identify real needs.

– Ability to research, investigate and analyze design topics.

– Ability to experiment, think laterally and engage in creative idea generation activities.

– Ability to provide solutions for real needs and problems and create value for the human condition; satisfy an aesthetic appetite for the creation of new market-driven style and products such as chairs, desk sets, cars and designer teapots.

3) Two written essays, as follows:a. A letter of intent of not more than 1,000 words

focused on the applicant’s motivation for pursuing graduate study in Industrial Design at Art Center, discussing personal goals for the future after completion of the program, and views regarding any specific areas of interest within the field.

b. A brief summary for a project proposal: $10 million and two years. Description of a program of activity that the candidate would (hypothetically) propose to work on if given an open budget of $10 million and two years to work on a project of their choice.

4) Your résumé. A short résumé and bio covering educational and relevant prior experience.

5) Letters of recommendation. One to three letters of recommendation from academic and professional references.

Media DesignApplications for Media Design are accepted for the Fall term only. Applications are due on February 1 for priority consideration, including potential for scholarship awards. Decisions and notifications are made in March.

The Media Design Program (MDP) seeks in-dividuals who want to change the world through design. Ideal applicants are risk-takers with

hybrid interests who wish to use the power of design to become stakeholders, entrepreneurs, cultural interventionists and visionaries.

Applicants should be self-starters who can integrate innovative design with intellectual investigation, who can synthesize theory and practice, and who can research personal interests with depth, intelligence and passion. Applicants must have earned, or be in the process of completing a bachelor’s degree. The MDP offers multiple paths that are appropriate to applicants with different backgrounds and goals.

Students are placed by the Application Review Committee into one of the two paths based upon their résumé, design portfolio, personal statement and stated preferences on the Media Design Program Supplemental Application Form. For the two-year path, we look for applicants with exceptional training and experience in the visual, spatial, interactive and graphic design fields who can realize high-level concepts with skill in visual communication and interactive design. For the three-year path, we accept both accomplished and burgeoning designers from a broad range of backgrounds. Applicants with degrees in fields such as information technology, philosophy or biology—to name just a few—bring valuable perspectives to the practice of design. We welcome applicants from all domains.


2) Complete the Media Design Program Supplemental Application.

In addition to the Art Center application form, applicants must complete the Media Design Program Supplemental Application, which helps the MDP faculty to evaluate which degree path is most appropriate for an applicant.

Download a PDF of the form at artcenter.edu/application/mdp_supplement. Submit a hard copy of the completed form with your other materials to the Admissions office.

3) Submit your portfolio. The design portfolio is the cornerstone of

the application submission materials. It should be a professionally presented body

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– Demonstration of a great aesthetic design sensibility and ability—for style, proportion, shape, material, color, etc.

– Ability to select important projects and identify real needs.

– Ability to research, investigate and analyze design topics.

– Ability to experiment, think laterally and engage in creative idea generation activities.

– Ability to provide solutions for real needs and problems and create value for the human condition; satisfy an aesthetic appetite for the creation of new market-driven style and products such as chairs, desk sets, cars and designer teapots.

3) Two written essays, as follows:Two written essays, as follows:Ta. A letter of intent of not more than 1,000 words A letter of intent of not more than 1,000 words A

focused on the applicant’s motivation for pursuing graduate study in Industrial Design at Art Center, discussing personal goals for the future after completion of the program, and views regarding any specific areas of interest within the field.

b. A brief summary for a project proposal: $10 million and two years. Description of a program of activity that the candidate would (hypothetically) propose to work on if given an open budget of $10 million and two years to work on a project of their choice.

4) Your résumé.Your résumé.YA short résumé and bio covering educational and relevant prior experience.

5) Letters of recommendation.One to three letters of recommendation from academic and professional references.

Media DesignMedia DesignApplications for Media Design are accepted for the Fall term only. Applications are due on February 1 for priority consideration, including potential for scholarship awards. Decisions and notifications are made in March.

The Media Design Program (MDP) seeks in-dividuals who want to change the world through design. Ideal applicants are risk-takers with

hybrid interests who wish to use the power of design to become stakeholders, entrepreneurs, cultural interventionists and visionaries.

Applicants should be self-starters who can integrate innovative design with intellectual investigation, who can synthesize theory and practice, and who can research personal interests with depth, intelligence and passion. Applicants must have earned, or be in the process of completing a bachelor’s degree. The MDP offers multiple paths that are appropriate to applicants with different backgrounds and goals.

Students are placed by the Application Review Committee into one of the two paths based upon their résumé, design portfolio, personal statement and stated preferences on the Media Design Program Supplemental Application Form. For the two-year path, we look for applicants with exceptional training and experience in the visual, spatial, interactive and graphic design fields who can realize high-level concepts with skill in visual communication and interactive design. For the three-year path, we accept both accomplished and burgeoning designers from a broad range of backgrounds. Applicants with degrees in fields such as information technology, philosophy or biology—to name just a few—bring valuable perspectives to the practice of design. We welcome applicants from all domains.


2) Complete the Media Design Program Supplemental Application.In addition to the Art Center application form, applicants must complete the Media Design Program Supplemental Application, which helps the MDP faculty to evaluate which degree path is most appropriate for an applicant.

Download a PDF of the form at artcenter.edu/application/mdp_supplement. Submit a hard copy of the completed form with your other materials to the Admissions office.

3) Submit your portfolio. The design portfolio is the cornerstone of

the application submission materials. It should be a professionally presented body


201

of work that demonstrates the applicant’s expertise in the conception and creation of sophisticated design and other relevant works (e.g. creative or critical writing, business plans, software, curriculum, research, grants, etc.).

Portfolios must demonstrate a sophisti-cated use of three or more of the following: typography, motion, narrative, information displays, navigational interface design, in-teraction design, and original imagery (still, moving, photographic or non-photographic) in the context of finished design work.

Projects can be professional, self-initiated and/or class assignments. Please edit your portfolio to highlight your best and most relevant work. Brief written descriptions of the projects should accompany each piece. Collaborative or commercial pieces should clearly state the applicant’s contribution or role. Original work should be presented in print or digital (e.g. PDFs, HTML, JPEGs or SWFs on a CD or DVD) format. No videotapes or slides. Digital work must be compatible with both Mac OS and Windows.

We recommend that you include a second copy of any digital media for safety. Label every piece with your name and include a written inventory of your portfolio contents.

4) Statement of intent. Applications must include a personal state-

ment of intent. This essay should outline the applicant’s motivation for pursuing graduate study in the Media Design Program, discuss personal goals for the future and outline any specific areas of interest within the field. While it is not necessary to propose a specific topic for the thesis project, a discussion of possible directions is helpful.

The personal statement should be clear and concise, no less than one and no more than four pages in length.

5) Your résumé. A résumé summarizing the applicant’s educational and professional background. It should highlight relevant academic studies, project work, awards and achievements, and work experience.

6) Letters of recommendation. Letters of recommendation (one to three) from academic and professional references are strongly encouraged and should be from people who are familiar with the applicant’s work and experience, and should speak to an ability to conceptualize, execute and communicate design.

Notifications, Tuition Deposit and DeferralsApplication NotificationsApplicants will be notified of the Admissions Committee’s decision in writing on a rolling basis for Art and Broadcast Cinema and in March for Industrial Design and Media Design.

Tuition DepositSpaces in the graduate programs are limited. Spaces are reserved based on receipt of a $300 non-refundable tuition deposit and are accepted on a first-come, first-served basis. Applicants should be aware that the status of openings can change very quickly, spaces are not guaranteed, and they can consider their space reserved only after receiving a written confirmation from the Admissions Office.

Art Center reserves the right to rescind an offer of admission at its discretion and if any information contained in the application is found to be incomplete, inaccurate or misleading or if additional information leads to serious concerns.

DeferralsDeferrals of admission are not possible with the exception of the Art program.

New Student Orientation and Class SchedulingSee page 197 in the Undergraduate section.

Arrival and HousingSee page 197 in the Undergraduate section.




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of work that demonstrates the applicant’s expertise in the conception and creation of sophisticated design and other relevant works (e.g. creative or critical writing, business plans, software, curriculum, research, grants, etc.).

Portfolios must demonstrate a sophisti-cated use of three or more of the following: typography, motion, narrative, information displays, navigational interface design, in-teraction design, and original imagery (still, moving, photographic or non-photographic) in the context of finished design work.

Projects can be professional, self-initiated and/or class assignments. Please edit your portfolio to highlight your best and most relevant work. Brief written descriptions of the projects should accompany each piece. Collaborative or commercial pieces should clearly state the applicant’s contribution or role. Original work should be presented in print or digital (e.g. PDFs, HTML, JPEGs or SWFs on a CD or DVD) format. No videotapes or slides. Digital work must be compatible with both Mac OS and Windows.

We recommend that you include a second copy of any digital media for safety. Label every piece with your name and include a written inventory of your portfolio contents.

4) Statement of intent.Applications must include a personal state-ment of intent. This essay should outline the applicant’s motivation for pursuing graduate study in the Media Design Program, discuss personal goals for the future and outline any specific areas of interest within the field. While it is not necessary to propose a specific topic for the thesis project, a discussion of possible directions is helpful.

The personal statement should be clear and concise, no less than one and no more than four pages in length.

5) Your résumé.Your résumé.YA résumé summarizing the applicant’s educational and professional background. It should highlight relevant academic studies, project work, awards and achievements, and work experience.

6) Letters of recommendation.Letters of recommendation (one to three) from academic and professional references are strongly encouraged and should be from people who are familiar with the applicant’s work and experience, and should speak to an ability to conceptualize, execute and communicate design.

Notifications, Tuition DepositNotifications, Tuition Depositand DeferralsApplication NotificationsApplication NotificationsApplicants will be notified of the Admissions Committee’s decision in writing on a rolling basis for Art and Broadcast Cinema and in March for Industrial Design and Media Design.

Tuition DepositTuition DepositSpaces in the graduate programs are limited. Spaces are reserved based on receipt of a $300 non-refundable tuition deposit and are accepted on a first-come, first-served basis. Applicants should be aware that the status of openings can change very quickly, spaces are not guaranteed, and they can consider their space reserved only after receiving a written confirmation from the Admissions Office.

Art Center reserves the right to rescind an offer of admission at its discretion and if any information contained in the application is found to be incomplete, inaccurate or misleading or if additional information leads to serious concerns.

DeferralsDeferrals of admission are not possible with the exception of the Art program.

New Student Orientation andClass SchedulingClass SchedulingSee page 197 in the Undergraduate section.

Arrival and HousingArrival and HousingSee page 197 in the Undergraduate section.


ARTCENTER.EDU

202 TUITION

TuitionArt Center’s 2010 undergraduate tuition is $15,834 per term; 2010 graduate tuition is $16,737 per term. Each term’s tuition covers a full-time program (12–19 units).

Tuition will be due and payable the Friday of the first week of classes. You can pay by check, credit card or cash. If you choose not to pay the full amount of your tuition during that first week of classes, you will be charged a $75 nonrefundable finance charge and will allow deferral of your tuition payment until the Friday of Week 10 of the term. If you are receiving financial aid, those amounts will be credited to your account and deducted from the amount due.

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

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

Art Center Student Health InsuranceAll enrolled Art Center students are automatically covered by a student health insurance policy upon registration. This is a free benefit and service to students with no additional charge.

ARTCENTER.EDU

202 TUITION

TuitionArt Center’s 2010 undergraduate tuition is $15,834 per term; 2010 graduate tuition is $16,737 per term. Each term’s tuition covers a full-time program (12–19 units).

Tuition will be due and payable the Friday of the first week of classes. You can pay by check, credit card or cash. If you choose not to pay the full amount of your tuition during that first week of classes, you will be charged a $75 non-refundable finance charge and will allow deferral of your tuition payment until the Friday of Week 10 of the term. If you are receiving financial aid, those amounts will be credited to your account and deducted from the amount due.

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

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

Art Center Student HealthInsuranceAll enrolled Art Center students are automatically covered by a student health insurance policy upon registration. This is a free benefit and service to students with no additional charge.

Tuition andFees

203

12 TO 1: STUDENT-TO-FACULTY RATIO

We encourage all students who need financial assistance to apply for aid. Applying for financial aid in no way affects your admissions decision.

Application Procedure1) A financial aid brochure that outlines the

various financial aid opportunities can be obtained by calling the Admissions Office at 626-396-2373 or by visiting artcenter.edu for full information on financial aid.

2) U.S. students must start the application process for all types of aid, including schol-arships, by completing the Free Application for Student Aid (FAFSA) at fafsa.ed.gov.

3) International students do not need to file any financial aid forms. They are eligible to apply for scholarships by submitting their application materials by the priority schol-arship deadlines listed here.

Financial Aid and Scholarships for Undergraduate StudentsFinancial Aid for U.S. Students1) Submit the FAFSA in January if possible,

regardless of the term for which you are applying. You can continue to submit the FAFSA at any point during the year, but some programs, such as Cal Grants, have once-a-year deadlines.

2) By submitting your FAFSA, the Financial Aid Office can consider your eligibility for programs such as the federal Pell Grant, Federal Work Study, Federal Stafford Loans and Art Center scholarships. The Financial Aid office will notify you of your aid after your acceptance.

3) The Cal Grant, for students who attended high school in California, has a FAFSA and grade point verification deadline of March 2. The grade point average must be certified by the registrar at your prior college (or high school if you have earned fewer than 24 college units) and submitted to the California Aid Commission. Obtain a GPA verification form on the Commission’s website at csac.ca.gov.

Scholarships for U.S. and International Students1) 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. Applicants for entering scholarships must have submitted their application for admission, transcripts, test scores, portfolio and FAFSA (U.S. students only) by the deadlines listed below for priority consideration. International students submit admissions materials only.

2) If you miss these priority deadlines, schol-arship funds may still be possible on an as-available basis, and other forms of aid, such as Federal Stafford Loans and Federal Pell Grants, may be available as well.

Priority Scholarship DeadlinesSubmit FAFSA (U.S. students) and all application materials by:

Summer term: February 1 Fall term: March 1 Spring term: October 1

Notification of Scholarship AwardsApplicants who have met all deadlines and who have been accepted will be notified of any Art Center scholarships by:

Summer term: March 15 Fall term: April 15 Spring term: November 15

Financial Aid ART CENTER COLLEGE OF DESIGN / 2011–2012203

12 TO 1: STUDENT-TO-FACULTY RATIO

We encourage all students who need financial assistance to apply for aid. Applying for financial aid in no way affects your admissions decision.

Application ProcedureApplication Procedure1) A financial aid brochure that outlines the

various financial aid opportunities can be obtained by calling the Admissions Office at 626-396-2373 or by visiting artcenter.edu for full information on financial aid.

2) U.S. students must start the application process for all types of aid, including schol-arships, by completing the Free Application for Student Aid (FAFSA) at fafsa.ed.gov.

3) International students do not need to file any financial aid forms. They are eligible to apply for scholarships by submitting their application materials by the priority schol-arship deadlines listed here.

Financial Aid and ScholarshipsFinancial Aid and Scholarshipsfor Undergraduate Studentsfor Undergraduate StudentsFinancial Aid for U.S. Students1) Submit the FAFSA in January if possible,

regardless of the term for which you are applying. You can continue to submit the FAFSA at any point during the year, but some programs, such as Cal Grants, have once-a-year deadlines.

2) By submitting your FAFSA, the Financial Aid Office can consider your eligibility for programs such as the federal Pell Grant, Federal Work Study, Federal Stafford Loans and Art Center scholarships. The Financial Aid office will notify you of your aid after your acceptance.

3) The Cal Grant, for students who attended high school in California, has a FAFSA and grade point verification deadline of March 2. The grade point average must be certified by the registrar at your prior college (or high school if you have earned fewer than 24 college units) and submitted to the California Aid Commission. Obtain a GPA verification form on the Commission’s website at csac.ca.gov.

Scholarships for U.S. and InternationalScholarships for U.S. and InternationalStudents1) 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. Applicants for entering scholarships must have submitted their application for admission, transcripts, test scores, portfolio and FAFSA (U.S. students only) by the deadlines listed below for priority consideration. International students submit admissions materials only.

2) If you miss these priority deadlines, schol-arship funds may still be possible on an as-available basis, and other forms of aid, such as Federal Stafford Loans and Federal Pell Grants, may be available as well.

Priority Scholarship DeadlinesPriority Scholarship DeadlinesSubmit FAFSA (U.S. students) and all application materials by:

Summer term: February 1Summer term: February 1Fall term: March 1Spring term: October 1Spring term: October 1

Notification of Scholarship AwardsNotification of Scholarship AwardsApplicants who have met all deadlines and who have been accepted will be notified of any Art Center scholarships by:

Summer term: March 15Fall term: April 15Fall term: April 15Spring term: November 15Spring term: November 15

Financial Aid ART CENTER COLLEGE OF DESIGN / 2011–2012Financial Aid ART CENTER COLLEGE OF DESIGN / 2011–2012

ARTCENTER.EDU

204 FINANCIAL AID

Financial Aid and Scholarships for Graduate StudentsGraduate students can apply for scholarships, which are generally need and merit-based. Request the Financial Aid brochure at 626-396-2215 or visit the Art Center website for more detailed information.

U.S. citizens and permanent alien residents must complete both the admissions requirements and the FAFSA to be considered for scholarships and financial aid. International students need only submit application materials.

Scholarship priority deadlines for submission of all admissions materials:

ArtFall entry: March 1Spring entry: October 1Summer entry: February 1

Broadcast CinemaFall entry: March 1

Industrial DesignFall entry: February 1

Media DesignFall entry: February 1

Types of AidFor the most detailed information on types of assistance available, consult the Art Center financial aid brochure. The amounts of awards listed here are for the 2010–11 academic year.

Grants for U.S. StudentsArt Center participates in the Federal Pell Grant, SEOG and Cal Grant programs. Awarded to eligible undergraduates without prior bachelor’s degrees on the basis of need.

Federal Pell Grant (undergraduate only)Amount: Up to $8,325 for full-time attendance per year for U.S. citizens or permanent residents enrolled at least half-time and based on need.

Federal Supplemental Education Opportunity Grant (SEOG) (undergraduate only)Amount: Up to $1,500 per year. Based on financial need with priority given to students who are receiving Federal Pell Grants.

State Grants: Cal A and Cal B (undergraduate only)Amount: up to $9,708 per academic year. Awarded by the California Student Aid Commission based on financial need and academic achievement for students who have graduated from high school in California without a prior bachelor’s degree. Cal B Grants for students from low-income families, include a living allowance during the first year of the award, and partial fees and a stipend in subsequent years.

Residents of other states should ask their state aid agency if state grants can be used at a California college.

ScholarshipsArt Center ScholarshipsAmount: Dependent on merit and need. Awarded by Art Center. Both new and currently enrolled students may apply for Art Center scholarships. All U.S. applicants must demonstrate financial need on the FAFSA. International students apply for scholarships without the FAFSA. Based on merit demonstrated in the portfolio and aca-demic record. Renewed throughout the course of study with maintenance of a grade point average of 3.0 and continued demonstration of need.

Other Scholarship ResourcesIn addition to applying for Art Center scholar-ships, students are encouraged to explore other scholarship resources. Many foundations and corporations offer scholarship funds and actively seek qualified applicants. To research these opportunities, please see the Admissions website for an online resource directory or visit search sites like scholarships.com or fastweb.com.

ARTCENTER.EDU

204 FINANCIAL AID

Financial Aid and Scholarships Financial Aid and Scholarships for Graduate StudentsGraduate students can apply for scholarships, which are generally need and merit-based. Request the Financial Aid brochure at 626-396-2215 or visit the Art Center website for more detailed information.

U.S. citizens and permanent alien residents must complete both the admissions requirements and the FAFSA to be considered for scholarships and financial aid. International students need only submit application materials.

Scholarship priority deadlines for submission of all admissions materials:

ArtFall entry: March 1Fall entry: March 1Spring entry: October 1Spring entry: October 1Summer entry: February 1Summer entry: February 1

Broadcast CinemaFall entry: March 1Fall entry: March 1

Industrial DesignIndustrial DesignFall entry: February 1Fall entry: February 1

Media DesignMedia DesignFall entry: February 1Fall entry: February 1

Types of AidTypes of AidFor the most detailed information on types of assistance available, consult the Art Center financial aid brochure. The amounts of awards listed here are for the 2010–11 academic year.

Grants for U.S. StudentsArt Center participates in the Federal Pell Grant, SEOG and Cal Grant programs. Awarded to eligible undergraduates without prior bachelor’s degrees on the basis of need.

Federal Pell Grant (undergraduate only)Federal Pell Grant (undergraduate only)Amount: Up to $8,325 for full-time attendance per year for U.S. citizens or permanent residents enrolled at least half-time and based on need.

Federal Supplemental Education Opportunity Federal Supplemental Education Opportunity Grant (SEOG) (undergraduate only)Grant (SEOG) (undergraduate only)Amount: Up to $1,500 per year. Based on financial need with priority given to students who are receiving Federal Pell Grants.

State Grants: Cal A and Cal B(undergraduate only)(undergraduate only)Amount: up to $9,708 per academic year. Awarded by the California Student Aid Commission based on financial need and academic achievement for students who have graduated from high school in California without a prior bachelor’s degree. Cal B Grants for students from low-income families, include a living allowance during the first year of the award, and partial fees and a stipend in subsequent years.

Residents of other states should ask their state aid agency if state grants can be used at a California college.

ScholarshipsScholarshipsArt Center ScholarshipsArt Center ScholarshipsAmount: Dependent on merit and need. Awarded by Art Center. Both new and currently enrolled students may apply for Art Center scholarships. All U.S. applicants must demonstrate financial need on the FAFSA. International students apply for scholarships without the FAFSA. Based on merit demonstrated in the portfolio and aca-demic record. Renewed throughout the course of study with maintenance of a grade point average of 3.0 and continued demonstration of need.

Other Scholarship ResourcesOther Scholarship ResourcesIn addition to applying for Art Center scholar-ships, students are encouraged to explore other scholarship resources. Many foundations and corporations offer scholarship funds and actively seek qualified applicants. To research these opportunities, please see the Admissions website for an online resource directory or visit search sites like scholarships.com or fastweb.com.

205

76%: PERCENTAGE OF ART CENTER STUDENTS QUALIFYING FOR AID

Employment OpportunitiesFederal Work Study ProgramAmount: Varies. Hourly rate ranges from $8 to $12 and paid through biweekly paycheck. Jobs may be on- or off-campus.

Off-Campus EmploymentAmount: Varies. Part-time positions are listed by Art Center’s Career Services Office; some may be related to a student’s major. Students cannot maintain a full-time job while enrolled at Art Center.

LoansFederal Direct Subsidized Stafford LoanAmount: $3,500 per academic year for first- year undergraduates; $4,500 for second-year undergraduates; $5,500 per academic year for years three through five; $8,500 per academic year for graduate students. The total Federal Direct Subsidized Stafford Loan debt possible as an undergraduate is $23,000. The total for graduate study is $65,500, including any loans made at the undergraduate level. Graduate student interest rate is fixed at 6.8%. The undergraduate rate will be 4.5% for 2010–11 with a reduction over the next year to 3.4%.

Federal Direct Unsubsidized Stafford LoanAmount: For independent students, annual loan limits are $6,000 per academic year for under-graduates in years one and two, and $7,000 per academic year for years three through five, with a total aggregate limit of $57,500, including any Federal Direct Stafford Loans or SLS Loans received. Graduate students may borrow up to $12,000 per academic year, with a cumulative limit of $138,500, including any undergraduate Stafford or SLS Loans.

Federal Direct Grad PLUS LoanProvides funding for graduate students beyond the amounts borrowed under the Subsidized and Unsubsidized Stafford programs. Amount: Up to the cost of education for the academic year minus other financial aid received with no aggregate limit. Interest rate is fixed at 7.9%. Must meet credit eligibility requirements.

Federal PLUS Loan (undergraduate only)Amount: Parents may borrow up to the cost of education per child minus other financial aid per academic year. Interest rate is fixed at 7.9%. and eligibility based on credit requirements.

Alternative Loan ProgramsFunded by participating banks or credit unions up to the estimated cost of education minus other financial aid received. Based on credit worthiness or participation of co-signer. Variable rates.

Financial Aid Return of Funds PolicyThe Financial Aid Office recalculates federal financial aid eligibility for students who with- draw, drop out, are dismissed or take a leave of absence after beginning classes but prior to completing 60 percent of a term. Recalculation is based on the percentage of earned aid using the following formula: percent earned = number of days ÷ total days in the term.

Federal financial aid is returned to the federal government based on the percentage of unearned aid using the following formula: aid to be returned = (100% – % earned) x the amount of aid disbursed toward tuition and fees.

When aid is returned, the student may owe a balance to Art Center. The withdrawal date for return of federal funds is the date the student began the institution’s official withdrawal process or otherwise provided official notification, or, for a student who leaves without notifying the institution, the midpoint of the term. For assistance in applying for financial aid, contact the Financial Aid Office at 626-396-2215.


76%: PERCENTAGE OF ART CENTER STUDENTS QUALIFYING FOR AID

Employment OpportunitiesEmployment OpportunitiesFederal Work Study ProgramFederal Work Study ProgramAmount: Varies. Hourly rate ranges from $8 to $12 and paid through biweekly paycheck. Jobs may be on- or off-campus.

Off-Campus EmploymentOff-Campus EmploymentAmount: Varies. Part-time positions are listed by Art Center’s Career Services Office; some may be related to a student’s major. Students cannot maintain a full-time job while enrolled at Art Center.

LoansFederal Direct Subsidized Stafford LoanAmount: $3,500 per academic year for first-year undergraduates; $4,500 for second-year undergraduates; $5,500 per academic year for years three through five; $8,500 per academic year for graduate students. The total Federal Direct Subsidized Stafford Loan debt possible as an undergraduate is $23,000. The total for graduate study is $65,500, including any loans made at the undergraduate level. Graduate student interest rate is fixed at 6.8%. The undergraduate rate will be 4.5% for 2010–11 with a reduction over the next year to 3.4%.

Federal Direct Unsubsidized Stafford LoanAmount: For independent students, annual loan limits are $6,000 per academic year for under-graduates in years one and two, and $7,000 per academic year for years three through five, with a total aggregate limit of $57,500, including any Federal Direct Stafford Loans or SLS Loans received. Graduate students may borrow up to $12,000 per academic year, with a cumulative limit of $138,500, including any undergraduate Stafford or SLS Loans.

Federal Direct Grad PLUS LoanProvides funding for graduate students beyond the amounts borrowed under the Subsidized and Unsubsidized Stafford programs. Amount: Up to the cost of education for the academic year minus other financial aid received with no aggregate limit. Interest rate is fixed at 7.9%. Must meet credit eligibility requirements.

Federal PLUS Loan (undergraduate only)Federal PLUS Loan (undergraduate only)Amount: Parents may borrow up to the cost of education per child minus other financial aid per academic year. Interest rate is fixed at 7.9%. and eligibility based on credit requirements.

Alternative Loan ProgramsAlternative Loan ProgramsFunded by participating banks or credit unions up to the estimated cost of education minus other financial aid received. Based on credit worthiness or participation of co-signer. Variable rates.

Financial Aid Return of Funds PolicyFinancial Aid Return of Funds PolicyThe Financial Aid Office recalculates federal financial aid eligibility for students who with-draw, drop out, are dismissed or take a leave of absence after beginning classes but prior to completing 60 percent of a term. Recalculation is based on the percentage of earned aid using the following formula: percent earned = number of days ÷ total days in the term.

Federal financial aid is returned to the federal government based on the percentage of unearned aid using the following formula: aid to be returned = (100% – % earned) x the amount of aid disbursed toward tuition and fees.

When aid is returned, the student may owe a balance to Art Center. The withdrawal date for return of federal funds is the date the student began the institution’s official withdrawal pro-cess or otherwise provided official notification, or, for a student who leaves without notifying the institution, the midpoint of the term.

For assistance in applying for financial aid,For assistance in applying for financial aid,contact the Financial Aid Office at 626-396-2215.

ARTCENTER.EDU

206 ACADEMIC INFORMATION

Terms/Semester SystemArt Center offers three full terms (semesters) each year: Fall, Spring and Summer. Each term is 15 weeks long.

Course LoadDegree programs are full-time only, requiring a course load of between 12 and 19 units per term. Permission must be obtained to go below 12 units or for course load to exceed 19 units. However, students can enroll in a part-time term, called Art Center Lite, two times during their course of study. Graduation from Art Center is based upon successful completion of the curriculum of the department to which the student was admitted. This is estimated to take a minimum of eight terms, depending on availability of classes and amount of transfer credit awarded.

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 am to 4 pm. Other classes are from 8 am to 1 pm and from 2 to 7 pm. Some classes are scheduled in the evening and on Saturdays. Humanities and Design Sciences classes normally meet at 1, 4, or 7 pm on weekdays and occasionally on Saturdays. Independent-study courses are available by special permission.

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 2009, the graduation rate for first-time undergraduate students who entered in the fall of 2002 was 71 percent. This information does not include transfer, exchange or special-certificate students. The graduation rate for all entering students for this same period was 87 percent. For further information, call Enrollment Services at 626-396-2316.

Other PoliciesFamily Education Rights and Privacy Act (FERPA)

The Family Education Rights and Privacy Act (FERPA) affords students certain rights with respect to their education records. They are:

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

– The right to request the amendment of education records that the student believes are inaccurate or misleading.

– The right of consent to disclosures of identifiable information contained in the student’s education records, except to the extent that FERPA authorizes disclosure without consent. An exception to the policy against disclosure without consent is dis-closure to College officials with legitimate educational interests.

– The right to file a complaint with the U.S. Department of Education concerning alleged failure by the College to comply with the requirements of FERPA. The name and address of the office that administers FERPA is: Family Policy Compliance Office U.S. Department of Education 400 Maryland Avenue, SW Washington, DC 20202-4605

The complete FERPA policy is available online at artcenter.edu.

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206 ACADEMIC INFORMATION

Terms/Semester SystemTerms/Semester SystemArt Center offers three full terms (semesters) each year: Fall, Spring and Summer. Each term is 15 weeks long.

Course LoadDegree programs are full-time only, requiring a course load of between 12 and 19 units per term. Permission must be obtained to go below 12 units or for course load to exceed 19 units. However, students can enroll in a part-time term, called Art Center Lite, two times during their course of study. Graduation from Art Center is based upon successful completion of the curriculum of the department to which the student was admitted. This is estimated to take a minimum of eight terms, depending on availability of classes and amount of transfer credit awarded.

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 am to 4 pm. Other classes are from 8 am to 1 pm and from 2 to 7 pm. Some classes are scheduled in the evening and on Saturdays. Humanities and Design Sciences classes normally meet at 1, 4, or 7 pm on weekdays and occasionally on Saturdays. Independent-study courses are available by special permission.

Change of MajorChange 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 DegreesAwarding 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 2009, the graduation rate for first-time undergraduate students who entered in the fall of 2002 was 71 percent. This information does not include transfer, exchange or special-certificate students. The graduation rate for all entering students for this same period was 87 percent. For further information, call Enrollment Services at 626-396-2316.

Other PoliciesFamily Education Rights and Privacy ActFamily Education Rights and Privacy Act(FERPA)(FERPA)

The Family Education Rights and Privacy Act (FERPA) affords students certain rights with respect to their education records. They are:

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

– The right to request the amendment of education records that the student believes are inaccurate or misleading.

– The right of consent to disclosures of identifiable information contained in the student’s education records, except to the extent that FERPA authorizes disclosure without consent. An exception to the policy against disclosure without consent is dis-closure to College officials with legitimate educational interests.

– The right to file a complaint with the U.S. Department of Education concerning alleged failure by the College to comply with the requirements of FERPA. The name and address of the office that administers FERPA is:Family Policy Compliance Office U.S. Department of Education400 Maryland Avenue, SWWashington, DC 20202-4605

The complete FERPA policy is available online at artcenter.edu.

AcademicInformation


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Nondiscrimination PolicyArt Center has a long-standing commitment to promoting equal opportunities for all, without regard to race, sex, gender, color, age, religion, national origin, ancestry, marital status, sexual orientation, gender identity or any other basis proscribed by law.

Any such discrimination is unlawful, violating Title VII of the Civil Rights Act of 1964, as amended, Title IX of the Education Code and California state law.

If you believe you have been discriminated against on any such basis, you should notify the Dean of Students.

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 participation in the services, programs and activities of the College.

It is the policy of the College that otherwise qualified students who have disabilities shall be given reasonable accommodation, including academic adjustment and auxiliary aids where appropriate, to ensure access to the College’s overall educational program. Individual students shall receive reasonable and necessary accommodation, including adjustment and aids, based on specific information and assessment data provided by a qualified professional. Students with disabilities should not wait until they are struggling with course work or facing academic probation before notifying Art Center of their disability and seeking special accommodations. The Student Disability Services Coordinator should be notified of disabilities and requests for accommodations by the student as soon as he or she is admitted, or as soon as the student’s need for accommodations becomes known to the student.

Student Right to Know and Campus Security ActArt Center complies with the Campus Security Act of 1991 as implemented in 1992.

Information on compliance is available from the Director of Environmental Health and Safety.

Changes to Policies, Procedures and FeesArt Center reserves the right to change or modify tuition, fees, the calendar, or discontinue or modify course offerings, majors, graduation requirements, rules, policies and procedures as it deems necessary or appropriate. Students will be provided with notice of these changes whenever possible through means such as the College website, posted notices or the Student Handbook. No exceptions may be made to any of the academic or academic-related policies. No representation by any College employee to the contrary may be considered authorized or binding.

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



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Nondiscrimination PolicyNondiscrimination PolicyArt Center has a long-standing commitment to promoting equal opportunities for all, without regard to race, sex, gender, color, age, religion, national origin, ancestry, marital status, sexual orientation, gender identity or any other basis proscribed by law.

Any such discrimination is unlawful, violating Title VII of the Civil Rights Act of 1964, as amended, Title IX of the Education Code and California state law.

If you believe you have been discriminated against on any such basis, you should notify the Dean of Students.

Disability PolicyDisability 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 participation in the services, programs and activities of the College.

It is the policy of the College that otherwise qualified students who have disabilities shall be given reasonable accommodation, including academic adjustment and auxiliary aids where appropriate, to ensure access to the College’s overall educational program. Individual students shall receive reasonable and necessary accom-modation, including adjustment and aids, based on specific information and assessment data provided by a qualified professional. Students with disabilities should not wait until they are struggling with course work or facing academic probation before notifying Art Center of their disability and seeking special accommodations. The Student Disability Services Coordinator should be notified of disabilities and requests for accommodations by the student as soon as he or she is admitted, or as soon as the student’s need for accommodations becomes known to the student.

Student Right to Know and CampusStudent Right to Know and CampusSecurity ActSecurity ActArt Center complies with the Campus Security Act of 1991 as implemented in 1992.

Information on compliance is available from the Director of Environmental Health and Safety.

Changes to Policies, Procedures and FeesChanges to Policies, Procedures and FeesArt Center reserves the right to change or modify tuition, fees, the calendar, or discontinue or modify course offerings, majors, graduation requirements, rules, policies and procedures as it deems necessary or appropriate. Students will be provided with notice of these changes whenever possible through means such as the College website, posted notices or the Student Handbook. No exceptions may be made to any of the academic or academic-related policies. No representation by any College employee to the contrary may be considered authorized or binding.

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

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We believe learning environments should both inspire creativity and have a meaningful impact on their surrounding community. Art Center’s two Pasadena campuses fulfill this vision. From wooded acres in the San Raphael Hills to adaptive reuse in downtown Pasadena, our campuses provide students with a wide variety of resources and technology.

Located on 175 acres in Pasadena, Hillside Campus is home to the College’s undergraduate programs, Graduate Industrial Design and Graduate Broadcast Cinema programs, adminis-trative offices and much of the College’s faculty and staff. The main building is a dramatic, modernist steel-and-glass structure spanning an arroyo just above the Rose Bowl. Designed by Craig Ellwood and Associates, it has been designated a local historical landmark by the City of Pasadena.

South Campus, a former supersonic wind tunnel located in downtown Pasadena, opened in 2004. The facility houses Art Center’s Graduate Art and Media Design programs as well as Public Programs serving the greater Los Angeles community with classes for all ages and skill levels. Embodying a commitment to responsible and sustainable development, South Campus was one of the first buildings in Pasadena to be LEED (Leadership in Energy and Environmental Design) certified. The Metro Gold Line train station is just one block away, giving students easy access to downtown Los Angeles.

Our facilities and resources at both campuses provide students with an array of creative learning opportunities. Exhibition spaces, art and printmaking studios, a color, materials and trends exploration lab, 3-D prototyping and fabrication shops, photo and film stages, a comprehensive library and many other resources support and enhance the Art Center learning experience.

Please visit artcenter.edu for more detailed descriptions.

Note: H = Hillside Campus S = South Campus

AuditoriumsAhmanson Auditorium H 450-seat facility used for screening student films, as well as shorts and features from faculty and guest directors. Also host to a wide range of stage productions, concerts, speakers and multimedia events.

L.A. Times Media Center H Intimate 75-seat venue used for lectures, multimedia presentations, community art programs and special events.

CampusFood/Beverage Services H, S The Hillside Cafeteria is open for breakfast, lunch, dinner and snacks with seating available in the Student Dining Room and outside patios. Food service is also offered at South Campus during peak hours.

Sinclaire Pavilion H Unique pavilion designed for student use; provides a flexible gallery space and open-air, amphitheater-type seating.

Sculpture Garden H Sculptures installed in various outdoor loca-tions. Several College events are staged here, including Graduation and Car Classic.

Student Store HDiscounted art and school supplies, textbooks, magazines and educationally priced software. Authorized Campus Store for Apple Computers.

ClassroomsClassrooms H, S “Smart classroom” environment, equipped with intuitive panel-control systems, simplifying the presentation of a vast array of media formats.

Dedicated Project Classrooms H Large, open project rooms provide Industrial Design students space to spread out and leave their works-in-progress at the end of the day.

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We believe learning environments should both inspire creativity and have a meaningful impact on their surrounding community. Art Center’s two Pasadena campuses fulfill this vision. From wooded acres in the San Raphael Hills to adaptive reuse in downtown Pasadena, our campuses provide students with a wide variety of resources and technology.

Located on 175 acres in Pasadena, HillsideCampusCampus is home to the College’s undergraduate programs, Graduate Industrial Design and Graduate Broadcast Cinema programs, adminis-trative offices and much of the College’s faculty and staff. The main building is a dramatic, modernist steel-and-glass structure spanning an arroyo just above the Rose Bowl. Designed by Craig Ellwood and Associates, it has been designated a local historical landmark by the City of Pasadena.

South CampusSouth Campus, a former supersonic wind tunnel located in downtown Pasadena, opened in 2004. The facility houses Art Center’s Graduate Art and Media Design programs as well as Public Programs serving the greater Los Angeles community with classes for all ages and skill levels. Embodying a commitment to responsible and sustainable development, South Campus was one of the first buildings in Pasadena to be LEED (Leadership in Energy and Environmental Design) certified. The Metro Gold Line train station is just one block away, giving students easy access to downtown Los Angeles.

Our facilities and resources at both campuses provide students with an array of creative learning opportunities. Exhibition spaces, art and printmaking studios, a color, materials and trends exploration lab, 3-D prototyping and fabrication shops, photo and film stages, a comprehensive library and many other resources support and enhance the Art Center learning experience.

Please visit artcenter.edu for more detailed descriptions.

Note: H = Hillside Campus S = South Campus

AuditoriumsAhmanson Auditorium H450-seat facility used for screening student films, as well as shorts and features from faculty and guest directors. Also host to a wide range of stage productions, concerts, speakers and multimedia events.

L.A. Times Media Center HIntimate 75-seat venue used for lectures, multimedia presentations, community art programs and special events.

CampusCampusFood/Beverage ServicesBeverage Services H, SThe Hillside Cafeteria is open for breakfast, lunch, dinner and snacks with seating available in the Student Dining Room and outside patios. Food service is also offered at South Campus during peak hours.

Sinclaire Pavilion HUnique pavilion designed for student use; provides a flexible gallery space and open-air, amphitheater-type seating.

Sculpture GardenSculpture Garden HSculptures installed in various outdoor loca-tions. Several College events are staged here, including Graduation and Car Classic.

Student Store HDiscounted art and school supplies, textbooks, magazines and educationally priced software. Authorized Campus Store for Apple Computers.

ClassroomsClassrooms H, S“Smart classroom” environment, equipped with intuitive panel-control systems, simplifying the presentation of a vast array of media formats.

Dedicated Project ClassroomsDedicated Project Classrooms H Large, open project rooms provide Industrial Design students space to spread out and leave their works-in-progress at the end of the day.

Facilities andResources

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GalleriesThe Alyce de Roulet Williamson Gallery H A 4,600-square-foot, museum-quality space, offering various exhibitions by leading artists and designers—often integrated into the exist-ing curriculum.

Public Programs Gallery and Lobby S Exhibition space featuring degree program work as well as work specific to the Public Programs.

Student Gallery H Exhibits exemplary work by undergraduate and graduate students, selected by Department Chairs each term and representing all disciplines.

Undergraduate Fine Art Galleries H 684-square-foot gallery reserved primarily for solo senior exhibits and curated senior group exhibitions. An additional, slightly smaller gallery space is available to all art students.

LabsColor, Materials and Trends Exploration Laboratory (CMTEL) HInnovative program offering expanded resources and expertise in color and materials technologies, as well as an understanding of global trends. Hosts a variety of events, lectures and courses on topics such as sustainable design, trend forecasting, lighting technologies and more.

Computer Labs H, S The College provides a variety of campus com-puting options, including free wireless access.

Digital Imaging Lab H Workstations for high-resolution scanning, digital printing from desktop to wide format, and manipulation are available.

Interior Simulation Lab (SimLab) H Provides students with vital tools for studying automotive interiors. Students are able to construct full-size 3D interior mock-ups in the simulator, project full-size vehicle packages onto adjustable mannequins and work with a wide array of textiles and other materials.

LibraryJames Lemont Fogg Memorial Library H A comprehensive collection of resources on art and design, including over 93,000 books chosen for the practicing artist and designer; online resources in dozens of design disciplines in-cluding color forecasting, materials, business, entertainment, photography and fine arts; 8,000 films on DVD and other cinema formats; and high-resolution visual images. Limited and signed editions, portfolios and pop-up books can be found in the Rare Book Room. Subscriptions are maintained for more than 350 magazines, while online subscriptions provide access to thousands of magazine articles. With more than half a million volumes, the library at nearby Occidental College serves as another resource for Art Center students.

Photography and FilmBlack-and-White Photography Lab H Provides manual deep tank and automated film processing, a Kreonite print processor and enlarging capability for all film formats from 35 mm to 8" x 10". A communal darkroom offers 40 enlarging stations, supplemented by private printing rooms.

Color Photography Lab H Offers automated processing for E-6 and C-41. A programmable Wing-Lynch and C-41 handline is available for experimental color processing. Color enlargements are made with De Vere 4" x 5" and 8" x 10" enlargers in private printing rooms.

Digital Video Editing Stations H Post-production/editing is completed using Final Cut Pro and Avid editing systems. Audio post-production/sound editing facilities include Pro Tools, Logic 7, and a recording room with a foley pit for dialogue looping and sound effects recording. A recording suite for music composi-tion is also included.


ARTCENTER.EDU/CAMPUS

GalleriesThe Alyce de Roulet Williamson GalleryThe Alyce de Roulet Williamson Gallery H A 4,600-square-foot, museum-quality space, offering various exhibitions by leading artists and designers—often integrated into the exist-ing curriculum.

Public Programs Gallery and LobbyPublic Programs Gallery and Lobby S Exhibition space featuring degree program work as well as work specific to the Public Programs.

Student GalleryStudent Gallery H Exhibits exemplary work by undergraduate and graduate students, selected by Department Chairs each term and representing all disciplines.

Undergraduate Fine Art GalleriesUndergraduate Fine Art Galleries H 684-square-foot gallery reserved primarily for solo senior exhibits and curated senior group exhibitions. An additional, slightly smaller gallery space is available to all art students.

LabsColor, Materials and Trends ExplorationColor, Materials and Trends ExplorationLaboratory (CMTEL)Laboratory (CMTEL) HInnovative program offering expanded resources and expertise in color and materials technologies, as well as an understanding of global trends. Hosts a variety of events, lectures and courses on topics such as sustainable design, trend forecasting, lighting technologies and more.

Computer LabsComputer Labs H, S The College provides a variety of campus com-puting options, including free wireless access.

Digital Imaging LabDigital Imaging Lab H Workstations for high-resolution scanning, digital printing from desktop to wide format, and manipulation are available.

Interior Simulation Lab (SimLab)Interior Simulation Lab (SimLab) H Provides students with vital tools for studying automotive interiors. Students are able to construct full-size 3D interior mock-ups in the simulator, project full-size vehicle packages onto adjustable mannequins and work with a wide array of textiles and other materials.

LibraryLibraryJames Lemont Fogg Memorial LibraryJames Lemont Fogg Memorial Library H A comprehensive collection of resources on art and design, including over 93,000 books chosen for the practicing artist and designer; online resources in dozens of design disciplines in-cluding color forecasting, materials, business, entertainment, photography and fine arts; 8,000 films on DVD and other cinema formats; and high-resolution visual images. Limited and signed editions, portfolios and pop-up books can be found in the Rare Book Room. Subscriptions are maintained for more than 350 magazines, while online subscriptions provide access to thousands of magazine articles. With more than half a million volumes, the library at nearby Occidental College serves as another resource for Art Center students.

Photography and FilmPhotography and FilmBlack-and-White Photography LabBlack-and-White Photography Lab H Provides manual deep tank and automated film processing, a Kreonite print processor and enlarging capability for all film formats from 35 mm to 8" x 10". A communal darkroom offers 40 enlarging stations, supplemented by private printing rooms.

Color Photography LabColor Photography Lab H Offers automated processing for E-6 and C-41. A programmable Wing-Lynch and C-41 handline is available for experimental color processing. Color enlargements are made with De Vere 4" x 5" and 8" x 10" enlargers in private printing rooms.

Digital Video Editing StationsDigital Video Editing Stations H Post-production/editing is completed using Final Cut Pro and Avid editing systems. Audio post-production/sound editing facilities include Pro Tools, Logic 7, and a recording room with a foley pit for dialogue looping and sound effects recording. A recording suite for music composi-tion is also included.

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Equipment Room H Provides authorized students, faculty, staff and others a variety of circulating photography, film and audiovisual equipment. Film equip-ment includes a range of Arriflex 16 mm, Super 16 mm and 35 mm film cameras, Panasonic and Canon digital video cameras utilizing state-of-the-art, high definition formats. The Film Department also maintains lighting, grip and sound equipment.

Photography Equipment H The following are available for checkout by Photography students: extensive tungsten and strobe lighting equipment and grip equipment; 4" x 5" and 8" x10" Sinar P2 view cameras; digital SLRs and digital medium-format backs; 35 mm and medium-format cameras.

Photo and Film Stages H Two fully equipped, 4,600-square-foot stages provide shooting space for all types of projects. A 24-foot strobe box and full cyc enable students to shoot automobiles and other large products.

Post-Production Equipment H The following tools are available to students to complete record, film or video projects: Avid Media Composer with film option, Pro Tools, Final Cut Pro, Sony Betacam SP, DVCam and DVCPro.

Professional Recording Studio H Offers students the latest in hard-disk recording technology, with a system that allows the maximum use of all types of audio in the digital domain. External analog effects include com- pressors, limiters and digital-signal processors. A selection of high-quality microphones is available, as well as AKG headphones.

Special ResourcesArchetype Press S A unique creative resource for students and the community, this 3,500-square-foot letterpress facility includes eight Vandercook proof presses, a Chandler & Price platen press, a Heidelberg Windmill press and 2,400-plus drawers of rare American and European metal foundry type, wood type and ornaments—possibly the largest such collection of any design school.

Technical Skill Center/The Shops H The creation heart of Art Center, consisting of the Model Shop, Paint Booths, Rapid Prototyping, Metal Shop, CNC, Laser, Plaster Room, Sanding Room, Composite Lab and the Tool Crib. Students from all departments may receive training to use The Shops and have access to professional instructors, quality modeling facilities and cutting-edge tools and technology to assist them in acquiring expert skills. The work areas in The Shops are equipped with the latest pro-fessional equipment required to complete projects in woodworking, metal fabrication, vacuum forming, plastic sheet fabrication, and fiberglass and composite fabrication. There are dedicated facilities for sanding and buffing, rubber-mold making, plastic casting, sandblasting, spray-painting and plaster fabrication. All Art Center students, with approved projects, have access to the latest in rapid prototyping technologies in our 3D prototyping shops, including various types of 3D printers, mills and routers. Laser cutters are also available to cut or etch plastic, wood or composites for a wide range of projects. The Shops also feature a well-stocked tool and equipment checkout area and a retail sales area for materials.

Writing Center H Provides individualized assistance on writing assignments, reading and research for all students, from first term to graduate level.

StudiosArt Studios H Individual studios for upper-term Fine Art students to create and present artwork.

Graduate Art Complex S 35 individual studio spaces, a sculpture shop, welding/sculpture outdoor workspace, editing rooms, project rooms and galleries for use by Graduate Art students.

Printmaking Studio S Enables students to explore intaglio, screen printing, stone and plate lithography, and various photographic printmaking techniques. The 3,000-square-foot studio also houses a press room, etching room and darkroom.

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Equipment RoomEquipment Room HProvides authorized students, faculty, staff and others a variety of circulating photography, film and audiovisual equipment. Film equip-ment includes a range of Arriflex 16 mm, Super 16 mm and 35 mm film cameras, Panasonic and Canon digital video cameras utilizing state-of-the-art, high definition formats. The Film Department also maintains lighting, grip and sound equipment.

Photography EquipmentPhotography Equipment H The following are available for checkout by Photography students: extensive tungsten and strobe lighting equipment and grip equipment; 4" x 5" and 8" x10" Sinar P2 view cameras; digital SLRs and digital medium-format backs; 35 mm and medium-format cameras.

Photo and Film StagesPhoto and Film Stages H Two fully equipped, 4,600-square-foot stages provide shooting space for all types of projects. A 24-foot strobe box and full cyc enable students to shoot automobiles and other large products.

Post-Production EquipmentPost-Production Equipment H The following tools are available to students to complete record, film or video projects: Avid Media Composer with film option, Pro Tools, Final Cut Pro, Sony Betacam SP, DVCam and DVCPro.

Professional Recording StudioProfessional Recording Studio H Offers students the latest in hard-disk recording technology, with a system that allows the maximum use of all types of audio in the digital domain. External analog effects include com-pressors, limiters and digital-signal processors. A selection of high-quality microphones is available, as well as AKG headphones.

Special ResourcesSpecial ResourcesArchetype PressArchetype Press S A unique creative resource for students and the community, this 3,500-square-foot letterpress facility includes eight Vandercook proof presses, a Chandler & Price platen press, a Heidelberg Windmill press and 2,400-plus drawers of rare American and European metal foundry type, wood type and ornaments—possibly the largest such collection of any design school.

Technical Skill Center/The ShopsTechnical Skill Center/The Shops H The creation heart of Art Center, consisting of the Model Shop, Paint Booths, Rapid Prototyping, Metal Shop, CNC, Laser, Plaster Room, Sanding Room, Composite Lab and the Tool Crib. Students from all departments may receive training to use The Shops and have access to professional instructors, quality modeling facilities and cutting-edge tools and technology to assist them in acquiring expert skills. The work areas in The Shops are equipped with the latest pro-fessional equipment required to complete projects in woodworking, metal fabrication, vacuum forming, plastic sheet fabrication, and fiberglass and composite fabrication. There are dedicated facilities for sanding and buffing, rubber-mold making, plastic casting, sandblasting, spray-painting and plaster fabrication. All Art Center students, with approved projects, have access to the latest in rapid prototyping technologies in our 3D prototyping shops, including various types of 3D printers, mills and routers. Laser cutters are also available to cut or etch plastic, wood or composites for a wide range of projects. The Shops also feature a well-stocked tool and equipment checkout area and a retail sales area for materials.

Writing CenterWriting Center H Provides individualized assistance on writing assignments, reading and research for all students, from first term to graduate level.

StudiosArt Studios H Individual studios for upper-term Fine Art students to create and present artwork.

Graduate Art ComplexGraduate Art Complex S 35 individual studio spaces, a sculpture shop, welding/sculpture outdoor workspace, editing rooms, project rooms and galleries for use by Graduate Art students.

Printmaking StudioPrintmaking Studio S Enables students to explore intaglio, screen printing, stone and plate lithography, and various photographic printmaking techniques. The 3,000-square-foot studio also houses a press room, etching room and darkroom.


211

2010 Fall Term Tuesday, September 7–Friday, September 10: Orientation for Fall term Saturday, September 11: Fall classes begin Monday, October 11: Columbus Day, holiday Thursday, November 25–Sunday, November 28: Thanksgiving holiday Saturday, December 18: Classes end Saturday, December 18: Graduation Vacation: December 19–January 14

2011 Spring Term Tuesday, January 11–Friday, January 14: Orientation for Spring term Saturday, January 15: Spring classes begin Monday, January 17: Martin Luther King birthday, holiday Saturday, April 23: Classes end Saturday, April 23: Graduation Vacation: April 24–May 13

Summer Term Tuesday, May 10–Friday, May 13: Orientation for Summer term Saturday, May 14: Summer classes begin Monday, May 30: Memorial Day holiday Monday, July 4: Independence Day holiday Saturday, August 20: Classes end Saturday, August 20: Graduation Vacation: August 21–September 9

Fall Term Tuesday, September 6–Friday, September 9: Orientation for Fall term Saturday, September 10: Fall classes begin Monday, October 10: Columbus Day, holiday Thursday, November 24–Sunday, November 27: Thanksgiving holiday Saturday, December 17: Classes end Saturday, December 17: Graduation Vacation: December 18–January 13

2012 Spring Term Tuesday, January 10–Friday, January 13: Orientation for Spring term Saturday, January 14: Spring classes begin Monday, January 16: Martin Luther King birthday, holiday Saturday, April 21: Classes end Saturday, April 21: Graduation Vacation: April 22–May 11

Summer Term Tuesday, May 8–Friday, May 11: Orientation for Summer term Saturday, May 12: Summer classes begin Monday, May 28: Memorial Day holiday Wednesday, July 4: Independence Day holiday Saturday, August 18: Classes end Saturday, August 18: Graduation Vacation: August 19–September 7



211 2010–2012Calendar

2010 Fall TermTuesday, September 7–Friday, September 10: Orientation for Fall termSaturday, September 11: Fall classes beginMonday, October 11: Columbus Day, holidayThursday, November 25–Sunday, November 28: Thanksgiving holidaySaturday, December 18: Classes endSaturday, December 18: GraduationVacation: December 19–January 14

2011 Spring TermSpring TermTuesday, January 11–Friday, January 14: Orientation for Spring termSaturday, January 15: Spring classes beginMonday, January 17: Martin Luther King birthday, holidaySaturday, April 23: Classes endSaturday, April 23: GraduationVacation: April 24–May 13

Summer TermTuesday, May 10–Friday, May 13: Orientation for Summer termSaturday, May 14: Summer classes beginMonday, May 30: Memorial Day holidayMonday, July 4: Independence Day holidaySaturday, August 20: Classes endSaturday, August 20: GraduationVacation: August 21–September 9

Fall TermTuesday, September 6–Friday, September 9: Orientation for Fall termSaturday, September 10: Fall classes beginMonday, October 10: Columbus Day, holidayThursday, November 24–Sunday, November 27: Thanksgiving holidaySaturday, December 17: Classes endSaturday, December 17: GraduationVacation: December 18–January 13

2012 Spring TermSpring TermTuesday, January 10–Friday, January 13: Orientation for Spring termSaturday, January 14: Spring classes beginMonday, January 16: Martin Luther King birthday, holidaySaturday, April 21: Classes endSaturday, April 21: GraduationVacation: April 22–May 11

Summer TermTuesday, May 8–Friday, May 11: Orientation for Summer termSaturday, May 12: Summer classes beginMonday, May 28: Memorial Day holidayWednesday, July 4: Independence Day holidaySaturday, August 18: Classes endSaturday, August 18: GraduationVacation: August 19–September 7

ARTCENTER.EDU

212 PEOPLE

College AdministrationFollowing are the names of College administrators at the level of director and above. This list does not include numerous other individuals who support Art Center students and educational programs on a day-to-day basis.

Lorne M. Buchman, PresidentNik Hafermaas, Acting Chief Academic Officer Fred Fehlau, Dean, Academic AffairsJeffrey Hoffman, Dean of Students, Department of Student AffairsArwen Duffy, Senior Vice President, Development and External AffairsGeorge Falardeau, Senior Vice President, Real Estate and OperationsRichard Haluschak, Senior Vice President and Chief Financial OfficerMariana Amatullo, Vice President and Director, DesignmattersKit Baron, Vice President, Admissions and Enrollment ManagementElizabeth Galloway, Vice President, Library DirectorStephen L. Nowlin, Vice President, Williamson GalleryTheresa Zix, Vice President, Information TechnologyNancy Torres Duggan, Executive Director, Human ResourcesWayne Herron, Senior Director, DevelopmentSteve Kim, Managing Director, Graphic Design DepartmentDana Walker, Managing Director, Public Programs and Director, Art Center at NightKristine Bowne, Director, Alumni RelationsBrian Boyl, Director, Interactive DesignDonna Cameron, Director, Admissions OperationsDavid Cawley, Director, Rapid Prototyping and Model ShopsElizabeth Collins, Director, Educational PartnershipsSean Donohue, Director, ResearchEllie Eisner, Director, Design OfficeOliver Galace, Director, Educational MediaBill Gartrell, Director, Enrollment Services and RegistrarJered Gold, Director, Public Relations and CommunicationsElias Gonzalez, Director, Admissions ProgramsPaula Goodman, Director, K-12 Programs

Gerardo Herrera, Director, Package DesignEd Hansbury, Director, RecruitmentKaren Hofmann, Director, Color, Materials and Trends Exploration LabJulia Hur, Director, Humanities and Design SciencesLeslie Johnson, Director, Academic AffairsSimon Johnston, Director, Print DesignMitchell Kane, Director, Fine Art DepartmentGloria Kondrup, Director, Archetype PressNeal McCarthy, Director, FacilitiesVicky McCormick, Director, Environmental Health and SafetyJane McFadden, Director, Art and Design HistoryClema McKenzie, Director, Financial AidJean Mitsunaga, Director, Career DevelopmentHeidrun Mumper-Drumm, Director, Sustainability InitiativesThea Petchler, Director, WritingJay Sanders, Director, Transportation Design DepartmentMolly Smith, Director, Public ProgramsJeannette Stramat, Director, Photo OperationsAmy Swain, Director, Individual and Alumni GivingMing Tai, Acting Director, Motion DesignJoJo Tardino, Director, Special EventsGeoff Wardle, Director, Advanced Mobility ResearchKevin Wingate, Director, Graduate Media DesignAnthony Zepeda, Director, Printmaking StudioPalencia Turner, Senior Development OfficerDiane Wittenberg, Controller

Department ChairsWendy Adest, Integrated StudiesAnne Burdick, Graduate Media DesignLaurence Dreiband, Fine ArtAnn Field, IllustrationPenny Florence, Humanities and Design SciencesJeremy Gilbert-Rolfe, Graduate ArtNik Hafermaas, Graphic DesignKaren Hofmann, Product Design Dennis Keeley, Photography and ImagingRoss LaManna, FilmDavid Mocarski, Environmental DesignAndy Ogden, Graduate Industrial DesignRobert W. Peterson, Graduate Broadcast CinemaStewart Reed, Transportation Design Jim Wojtowicz, Interim Chair, AdvertisingVacant, Entertainment Design

ARTCENTER.EDU

212 PEOPLEAdministration

College AdministrationCollege AdministrationFollowing are the names of College administrators at the level of director and above. This list does not include numerous other individuals who support Art Center students and educational programs on a day-to-day basis.

Lorne M. Buchman, PresidentNik Hafermaas, Acting Chief Academic Officer Fred Fehlau, Dean, Academic AffairsJeffrey Hoffman, Dean of Students, Department

of Student AffairsArwen Duffy, Senior Vice President,

Development and External AffairsGeorge Falardeau, Senior Vice President, Real

Estate and OperationsRichard Haluschak, Senior Vice President and

Chief Financial OfficerMariana Amatullo, Vice President and Director,

DesignmattersKit Baron, Vice President, Admissions and

Enrollment ManagementElizabeth Galloway, Vice President, Library

DirectorStephen L. Nowlin, Vice President, Williamson

GalleryTheresa Zix, Vice President, Information

TechnologyNancy Torres Duggan, Executive Director,

Human ResourcesWayne Herron, Senior Director, DevelopmentSteve Kim, Managing Director, Graphic Design

DepartmentDana Walker, Managing Director, Public

Programs and Director, Art Center at NightKristine Bowne, Director, Alumni RelationsBrian Boyl, Director, Interactive DesignDonna Cameron, Director, Admissions OperationsDavid Cawley, Director, Rapid Prototyping and

Model ShopsElizabeth Collins, Director, Educational

PartnershipsSean Donohue, Director, ResearchEllie Eisner, Director, Design OfficeOliver Galace, Director, Educational MediaBill Gartrell, Director, Enrollment Services and

RegistrarJered Gold, Director, Public Relations and

CommunicationsElias Gonzalez, Director, Admissions ProgramsPaula Goodman, Director, K-12 Programs

Gerardo Herrera, Director, Package DesignEd Hansbury, Director, RecruitmentKaren Hofmann, Director, Color, Materials and

Trends Exploration LabJulia Hur, Director, Humanities and Design

SciencesLeslie Johnson, Director, Academic AffairsSimon Johnston, Director, Print DesignMitchell Kane, Director, Fine Art DepartmentGloria Kondrup, Director, Archetype PressNeal McCarthy, Director, FacilitiesVicky McCormick, Director, Environmental

Health and SafetyJane McFadden, Director, Art and Design HistoryClema McKenzie, Director, Financial AidJean Mitsunaga, Director, Career DevelopmentHeidrun Mumper-Drumm, Director, Sustainability

InitiativesThea Petchler, Director, WritingJay Sanders, Director, Transportation Design

DepartmentMolly Smith, Director, Public ProgramsJeannette Stramat, Director, Photo OperationsAmy Swain, Director, Individual and Alumni GivingMing Tai, Acting Director, Motion DesignJoJo Tardino, Director, Special EventsGeoff Wardle, Director, Advanced Mobility

ResearchKevin Wingate, Director, Graduate Media DesignAnthony Zepeda, Director, Printmaking StudioPalencia Turner, Senior Development OfficerDiane Wittenberg, Controller

Department ChairsDepartment ChairsWendy Adest, Integrated StudiesAnne Burdick, Graduate Media DesignLaurence Dreiband, Fine ArtAnn Field, IllustrationPenny Florence, Humanities and Design SciencesJeremy Gilbert-Rolfe, Graduate ArtNik Hafermaas, Graphic DesignKaren Hofmann, Product Design Dennis Keeley, Photography and ImagingRoss LaManna, FilmDavid Mocarski, Environmental DesignAndy Ogden, Graduate Industrial DesignRobert W. Peterson, Graduate Broadcast CinemaStewart Reed, Transportation Design Jim Wojtowicz, Interim Chair, AdvertisingVacant, Entertainment Design

213

ARTCENTER.EDU/PEOPLE

Robert C. Davidson Jr., Chairman Douglas C. Boyd (PROD ’66)

Lorne M. BuchmanWilliam T. Gross Kit Hinrichs (ADVT ’63)

William D. Horsfall Cleon T. “Bud” Knapp, Chairman EmeritusTimothy M. Kobe (ENVL ’82)

George H. Ladyman Jr. (TRAN ’87)

Samuel J. Mann Reiner M. TriltschPaul A. Violich Judy C. Webb Alyce de Roulet Williamson

Emeritus TrusteesRichard N. Frank Edward Hanak Donald R. Kubly (ADVT ’49)

Frederick M. Nicholas Warren B. Williamson, Chairman Emeritus

Honorary TrusteesWallis Annenberg David Baltimore Heinrich Baumann-Steiner Susan Caldwell Bettina Chandler Leland Clow Kenji Ekuan (PROD ’57)

Adelaide Hixon Jerry V. Johnson (ADVT ’59)

Nobuhiko Kawamoto Jon and Lillian LovelaceFrank Nuovo (PROD ’86)

Kazuo Okamoto Peggy Phelps


ARTCENTER.EDU/PEOPLE

2010 Boardof Trustees

Robert C. Davidson Jr., Chairman Douglas C. Boyd (PROD ’66)

Lorne M. BuchmanWilliam T. Gross Kit Hinrichs (ADVT ’63)

William D. Horsfall Cleon T. “Bud” Knapp, Chairman EmeritusTimothy M. Kobe (ENVL ’82)

George H. Ladyman Jr. (TRAN ’87)

Samuel J. Mann Reiner M. TriltschPaul A. Violich Judy C. Webb Alyce de Roulet Williamson

Emeritus TrusteesRichard N. Frank Edward Hanak Donald R. Kubly (ADVT ’49)

Frederick M. Nicholas Warren B. Williamson, Chairman Emeritus

Honorary TrusteesHonorary TrusteesWallis Annenberg David Baltimore Heinrich Baumann-Steiner Susan Caldwell Bettina Chandler Leland Clow Kenji Ekuan (PROD ’57)

Adelaide Hixon Jerry V. Johnson (ADVT ’59)

Nobuhiko Kawamoto Jon and Lillian LovelaceFrank Nuovo (PROD ’86)

Kazuo Okamoto Peggy Phelps

ARTCENTER.EDU

214 CAREER DEVELOPMENT

As part of our robust career development program (described on page 187), each term Art Center invites studios, galleries, design firms and companies to meet our graduating students. The following organizations participated in the On-Campus Recruitment Program during 2009 (partial list):

180 LA, Santa Monica, CAAdded Value, Los Angeles, CAAngeleno Magazine, Los Angeles, CAApple; Cupertino, CAApplied Minds, Glendale, CAAppy Entertainment, Carlsbad, CAArnell, New York, NYAstro Studios, San Francisco, CABig Fish Games, Seattle, WABlind, Santa Monica, CABlizzard Entertainment, Irvine, CABlue Sky Studios, Greenwich, CTBMW / Designworks USA, Newbury Park, CABon Appetit, Los Angeles, CABRC Imagination Arts, Burbank, CABradshaw International, Rancho Cucamonga, CABrand New School, Los Angeles, CABright Automotive, Anderson, INCalty Design Research, Newport Beach, CACartoon Network, Burbank, CAChrysler, Auburn Hills, MIClean Agency, South Pasadena, CAContinuum, Venice, CACorey Helford Gallery, Culver City, CACrispin Porter Bogusky, Boulder, CODavid & Goliath, El Segundo, CADC Shoes, Vista, CADDB, Los Angeles, CADeddens + Deddens, Los Angeles, CADesignory, Long Beach, CADeutsch, Los Angeles, CADigital Domain, Venice, CADreamWorks Animation, Glendale, CAEight, Inc., San Francisco, CAElectronic Arts LA, Los Angeles, CAFacebook, Palo Alto, CAFisker Automotive / Coachbuild, Irvine, CAFocus Features, Universal City, CAFord Motor Company, Dearborn, MI & Irvine, CAFox Networks Group, Los Angeles, CAFugitive Studios, Los Angeles, CAGeneral Motors, Detroit, MIGensler, Los Angeles, CA

Good, Los Angeles, CAGoogle, Mountain View, CAHonda R&D Americas, Torrance & Pasadena, CAHyundai, Irvine, CAImage Movers Digital, San Rafael, CAImaginary Forces, Hollywood, CAIndustrial Light & Magic, San Francisco, CAInsomniac Games, Burbank, CAJohnson & Johnson, New York, NYKawasaki Motors, Irvine, CAKelton Research, Culver City, CA Kopeikin Gallery, West Hollywood, CALeBasse Projects, Culver City, CALucasarts, San Rafael, CAM+B Gallery, Los Angeles, CAMazda Design Americas, Irvine, CAMercedes Benz of North America, Hollywood, CAMETRO, Los Angeles, CAMotion Theory, Venice, CANickelodeon Animation Studios, Burbank, CANike, Beaverton, ORNissan Design America, San Diego, CANONOBJECT, Palo Alto, CAOrabor, Los Angeles, CAPentagram, San Francisco, CAPixar, Emeryville, CAPolaris, Minneapolis, MNRadical Publishing, Los Angeles, CARhythm & Hues, Los Angeles, CARios Clementi Hale Studios, Los Angeles, CARTT, Pasadena, CASaatchi & Saatchi, Torrance, CASony Pictures Imageworks, Culver City, CA Stuart Karten Design, Marina del Rey, CASY Partners, San Francisco, CATaschen, Los Angeles, CATBWA \ CHIAT \ DAY, Los Angeles, CATeague, Seattle, WAThe Designory, Long Beach, CAThe Hettema Group, Pasadena, CAThe Hive Gallery & Studios, Los Angeles, CAThinkwell, Burbank, CATokidoki, Los Angeles, CATokyopop, Los Angeles, CATrailer Park, Hollywood, CAVolkswagen Group of America, Irvine, CAVolvo Cars of North America, Camarillo, CAWalt Disney Companies, Burbank, CAWhiskytree, San Rafael, CAWongDoody, Culver City, CAYahoo!, Santa Monica, CA

ARTCENTER.EDU

214 CAREER DEVELOPMENTOn-CampusOn-CampusRecruitment

As part of our robust career development program (described on page 187), each term Art Center invites studios, galleries, design firms and companies to meet our graduating students. The following organizations participated in the On-Campus Recruitment Program during 2009 (partial list):

180 LA, Santa Monica, CAAdded Value, Los Angeles, CAAngeleno Magazine, Los Angeles, CAApple; Cupertino, CAApplied Minds, Glendale, CAAppy Entertainment, Carlsbad, CAArnell, New York, NYAstro Studios, San Francisco, CABig Fish Games, Seattle, WABlind, Santa Monica, CABlizzard Entertainment, Irvine, CABlue Sky Studios, Greenwich, CTBMW / Designworks USA, Newbury Park, CABon Appetit, Los Angeles, CABRC Imagination Arts, Burbank, CABradshaw International, Rancho Cucamonga, CABrand New School, Los Angeles, CABright Automotive, Anderson, INCalty Design Research, Newport Beach, CACartoon Network, Burbank, CAChrysler, Auburn Hills, MIClean Agency, South Pasadena, CAContinuum, Venice, CACorey Helford Gallery, Culver City, CACrispin Porter Bogusky, Boulder, CODavid & Goliath, El Segundo, CADC Shoes, Vista, CADDB, Los Angeles, CADeddens + Deddens, Los Angeles, CADesignory, Long Beach, CADeutsch, Los Angeles, CADigital Domain, Venice, CADreamWorks Animation, Glendale, CAEight, Inc., San Francisco, CAElectronic Arts LA, Los Angeles, CAFacebook, Palo Alto, CAFisker Automotive / Coachbuild, Irvine, CAFocus Features, Universal City, CAFord Motor Company, Dearborn, MI & Irvine, CAFox Networks Group, Los Angeles, CAFugitive Studios, Los Angeles, CAGeneral Motors, Detroit, MIGensler, Los Angeles, CA

Good, Los Angeles, CAGoogle, Mountain View, CAHonda R&D Americas, Torrance & Pasadena, CAHyundai, Irvine, CAImage Movers Digital, San Rafael, CAImaginary Forces, Hollywood, CAIndustrial Light & Magic, San Francisco, CAInsomniac Games, Burbank, CAJohnson & Johnson, New York, NYKawasaki Motors, Irvine, CAKelton Research, Culver City, CA Kopeikin Gallery, West Hollywood, CALeBasse Projects, Culver City, CALucasarts, San Rafael, CAM+B Gallery, Los Angeles, CAMazda Design Americas, Irvine, CAMercedes Benz of North America, Hollywood, CAMETRO, Los Angeles, CAMotion Theory, Venice, CANickelodeon Animation Studios, Burbank, CANike, Beaverton, ORNissan Design America, San Diego, CANONOBJECT, Palo Alto, CAOrabor, Los Angeles, CAPentagram, San Francisco, CAPixar, Emeryville, CAPolaris, Minneapolis, MNRadical Publishing, Los Angeles, CARhythm & Hues, Los Angeles, CARios Clementi Hale Studios, Los Angeles, CARTT, Pasadena, CASaatchi & Saatchi, Torrance, CASony Pictures Imageworks, Culver City, CA Stuart Karten Design, Marina del Rey, CASY Partners, San Francisco, CATaschen, Los Angeles, CATBWA \ CHIATCHIATCHIA \ DAY, Los Angeles, CATeague, Seattle, WAThe Designory, Long Beach, CAThe Hettema Group, Pasadena, CAThe Hive Gallery & Studios, Los Angeles, CAThinkwell, Burbank, CATokidoki, Los Angeles, CATokyopop, Los Angeles, CATrailer Park, Hollywood, CAVolkswagen Group of America, Irvine, CAVolvo Cars of North America, Camarillo, CAWalt Disney Companies, Burbank, CAWhiskytree, San Rafael, CAWongDoody, Culver City, CAYahoo!, Santa Monica, CA

215


Academic Information 206Admissions 189–207 Counseling appointments 189 Deadlines 195, 198–200 Graduate 198–201 Notification 201 Requirements 198–201 Undergraduate 189–197 Notification 195 Requirements 190–194 Your Choice of Major 189Advertising, undergraduate 25–34 Course Requirements 32Arrival and Housing 197, 201Art, graduate 137–146 Course Requirements 144Art Center at Night/Continuing Studies 188Art Center for Kids 188Board of Trustees 213Broadcast Cinema, graduate 147–156 Course Requirements 154Calendar, academic 211Career Development 187, 214Course load 206Deferrals 195, 201Department Chairs 212Design-Based Learning 188Designmatters 17, 184–185Disabled students 186, 207English proficiency 190–1, 198Entertainment Design, undergraduate 35–44 Course Requirements 42Environmental Design, undergraduate 45–54 Course Requirements 52Expenses, living 202Facilities and Resources 208–210Family Education Rights and Privacy Act 206Fees 202Film, undergraduate 55–64 Course Requirements 62Financial aid 203–205 Deadlines 203–204 Refund policy 205Fine Art, undergraduate 65–74 Course Requirements 72Graduate Programs 133, 137–180Graduation rates 206Graduation requirements 206Grants 204Graphic Design, undergraduate 75–84 Course Requirements 82

Health Insurance 202High school students 188Housing 197, 201Humanities and Design Sciences 11, 181, 196Illustration, undergraduate 85–94 Course Requirements 92Industrial Design, graduate 157–166 Course Requirements 164Integrated Studies 182–183International students 190Living expenses 202Loans 205Media Design, graduate 167–176 Course Requirements 174Nondiscrimination policy 207Orientation 197, 201Photography and Imaging, undergraduate 95–104 Course Requirements 102Portfolio requirements Undergraduate 192–194 Graduate 198–200Portfolio return 192Product Design, undergraduate 105–114 Course Requirements 112Public Programs 8, 10, 188Readmission 195Registration, new students 197Saturday High 188Schedules 206Scholarships 203–204Special Status Program 190Staff 212Student Experience 186Student Life, Office of 186 Studio Art Credit 196Summer Institute for Teachers 188Supplies, budgeting for 202Tours 189, 198Transfer credit 196Transfer students 190Transportation Design, undergraduate 115–124 Course Requirements 122Tuition 202 Deposit 195, 201Veterans 190Work study program 205



Index

Academic Information 206Admissions 189–207

Counseling appointments 189Deadlines 195, 198–200Graduate 198–201

Notification 201 Requirements 198–201

Undergraduate 189–197 Notification 195 Requirements 190–194

Your Choice of Major 189Advertising, undergraduate 25–34

Course Requirements 32Arrival and Housing 197, 201197, 201197Art, graduate 137–146

Course Requirements 144Art Center at Night/Continuing Studies 188Art Center for Kids 188Board of Trustees 213Broadcast Cinema, graduate 147–156

Course Requirements 154Calendar, academic 211Career Development 187, 214187, 214187Course load 206Deferrals 195, 201Department Chairs 212Design-Based Learning 188Designmatters 17, 184–18517, 184–18517Disabled students 186, 207English proficiency 190–1, 198Entertainment Design, undergraduate 35–44

Course Requirements 42Environmental Design, undergraduate 45–54

Course Requirements 52Expenses, living 202Facilities and Resources 208–210Family Education Rights and Privacy Act 206Fees 202Film, undergraduate 55–64

Course Requirements 62Financial aid 203–205

Deadlines 203–204Refund policy 205

Fine Art, undergraduate 65–74Course Requirements 72

Graduate Programs 133, 137–180Graduation rates 206Graduation requirements 206Grants 204Graphic Design, undergraduate 75–84

Course Requirements 82

Health Insurance 202High school students 188Housing 197, 201197, 201197Humanities and Design Sciences 11, 181, 196Illustration, undergraduate 85–94

Course Requirements 92Industrial Design, graduate 157–166

Course Requirements 164Integrated Studies 182–183International students 190Living expenses 202Loans 205Media Design, graduate 167–176

Course Requirements 174Nondiscrimination policy 207Orientation 197, 201197, 201197Photography and Imaging,

undergraduate 95–104Course Requirements 102

Portfolio requirementsUndergraduate 192–194Graduate 198–200

Portfolio return 192Product Design, undergraduate 105–114

Course Requirements 112Public Programs 8, 10, 188Readmission 195Registration, new students 197Saturday High 188Schedules 206Scholarships 203–204Special Status Program 190Staff 212Student Experience 186Student Life, Office of 186Studio Art Credit 196Summer Institute for Teachers 188Supplies, budgeting for 202Tours 189, 198Transfer credit 196Transfer students 190Transportation Design, undergraduate 115–124

Course Requirements 122Tuition 202

Deposit 195, 201Veterans 190Work study program 205

ARTCENTER.EDU

Published by the Department of Marketing and Communications

Chairman of the Board of Trustees: Robert C. Davidson Jr.President: Lorne M. BuchmanSenior Vice President, Development and External Affairs: Arwen DuffyDirector, Public Relations and Communications: Jered GoldDirector, Design Office: Ellie Eisner

Creative Direction and Design: Winnie Li, Art Director/Senior Designer, Design Office;Simon Johnston, Director of Print, Graphic Design Department Designers: Eliana Dominguez, Seth FerrisProduction Manager: Audrey KraussPhotographer: Steven A. HellerAssociate Photographer: Vahé Alaverdian

Editorial Direction and Written Content: Vanessa SilbermanStudent Interviews: Lara Warren, Mike Winder

Fonts: Akkurat, MonostenPaper: The papers used in this piece were sourced from well-managed sustainable forests: Cougar Cover, Endurance Gloss Book, Wausau Exact Brights, Wausau Opaque Colors Text, Wausau Astrobrights Text and Domtar Colors Opaque Text. Printer: Clear Image Printing Co., Glendale, CA

Photo and Image Credits/Copyright: Page 22: Manhattan Beach; Photo: Robert Landau/CORBIS \\ Page 22: Walt Disney Concert Hall; Photo: Miguel Ramirez \\ Pages 54, 64, 114 and 123: Art Center students; Photos: Seth Ferris \\ Page 127: Jennifer Steinkamp, Daisy Bell, 2008; Photo: Robert Wedemeyer; Collection: Bank of America, New York, New York \\ Page 127: Jennifer Steinkamp, X-Room, 2000; Soundtrack: Andrew Bucksbarg; Photo: © Peter Mauss/Esto \\ Page 127: Rafael Esquer, Björk Cocoon, album cover, 2002. Client: Björk, One Little Indian Records; Creative director: Eiko Ishioka; Designer: Rafael Esquer; 3D illustrator: Tim Wilder; Design firm: @radical.media \\ Page 181: Eija-Liisa Ahtila, The House, 2002, 14 min, DVD installation for three projections with sound. Photo: Marja-Leena Hukkanen. © Crystal Eye Ltd., Helsinki. Courtesy of Marian Goodman Gallery, New York and Paris.

Art Center College of Design does not endorse any of the products, brands or companies that may appear as part of any student work.

In most cases, alumni artwork was provided directly by individual alumni. We thank them for their ongoing support and contributions to this Viewbook.

© 2010 Art Center College of Design™ All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without written permission of the publisher.

ARTCENTER.EDU

Credits

Published by the Department of Marketing and Communications

Chairman of the Board of Trustees: Robert C. Davidson Jr.President: Lorne M. BuchmanSenior Vice President, Development and External Affairs: Arwen DuffyDirector, Public Relations and Communications: Jered GoldDirector, Design Office: Ellie Eisner

Creative Direction and Design: Winnie Li, Art Director/Senior Designer, Design Office;Simon Johnston, Director of Print, Graphic Design Department Designers: Eliana Dominguez, Seth FerrisProduction Manager: Audrey KraussPhotographer: Steven A. HellerAssociate Photographer: Vahé Alaverdian

Editorial Direction and Written Content: Vanessa SilbermanStudent Interviews: Lara Warren, Mike Winder

Fonts: Akkurat, MonostenPaper: The papers used in this piece were sourced from well-managed sustainable forests: Cougar Cover, Endurance Gloss Book, Wausau Exact Brights, Wausau Opaque Colors Text, Wausau Astrobrights Text and Domtar Colors Opaque Text. Printer: Clear Image Printing Co., Glendale, CA

Photo and Image Credits/Copyright: Page 22: Manhattan Beach; Photo: Robert Landau/CORBIS \\ Page 22: Walt Disney Concert Hall; Photo: Miguel Ramirez \\ Pages 54, 64, 114 and 123: Art Center students; Photos: Seth Ferris \\ Page 127: Jennifer Steinkamp, Daisy Bell, 2008; Photo: Robert Wedemeyer; Collection: Bank of America, New York, New York \\ Page 127: Jennifer Steinkamp, X-Room, 2000; Soundtrack: Andrew Bucksbarg; Photo: © Peter Mauss/Esto \\ Page 127: Rafael Esquer, Björk Cocoon, album cover, 2002. Client: Björk, One Little Indian Records; Creative director: Eiko Ishioka; Designer: Rafael Esquer; 3D illustrator: Tim Wilder; Design firm: @radical.media \\ Page 181: Eija-Liisa Ahtila, The House, 2002, 14 min, DVD installation for three projections with sound. Photo: Marja-Leena Hukkanen. © Crystal Eye Ltd., Helsinki. Courtesy of Marian Goodman Gallery, New York and Paris.

Art Center College of Design does not endorse any of the products, brands or companies that may appear as part of any student work.

In most cases, alumni artwork was provided directly by individual alumni. We thank them for their ongoing support and contributions to this Viewbook.

© 2010 Art Center College of Design™

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without written permission of the publisher.

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