ART CENTER VIEWBOOK 2013–2014
Why Art Center? President’s Message
026 036 046 056 066 076 086 096 106 116 126
Advertising Entertainment Design Environmental Design Film Fine Art Graphic Design Illustration Interaction Design Photography and Imaging Product Design Transportation Design
136 148 149 150
Undergraduate Admissions 2012–14 Academic Calendar Art Center at a Glance Graduate Admissions
157 158 168 178 188 198 210
Graduate Studies Art Broadcast Cinema Environmental Design Industrial Design Media Design Practices Transportation Design
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Influence change. More than 80 years ago, our first president, Edward “Tink” Adams, and his colleagues pioneered a rigorous curriculum that prepared artists and designers for essential roles in industry. Today, our faculty of working professionals prepares you for the vital contribution you can make as a creative individual in all aspects of life. From radical expression to technological innovation to social change, the creative mind leads the way. At Art Center, we help you harness the power of your unique vision.
ART CENTER VIEWBOOK 2013–2014
Learn to create.
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Find your focus. Challenge yourself. When you enter Art Center as an undergraduate, the major you declare provides a curricular path that facilitates mastery of your chosen field. Along the way, you participate in Transdisciplinary Studios and sponsored projects that embrace real-world collaborative methodologies and business practices. This parallel approach to creative excellence helps ensure that you leave Art Center well prepared to be a creative leader in any venture or organization, or continue on to graduate education.
Bachelor of Fine Arts
Bachelor of Science
Advertising Film Fine Art Graphic Design Illustration Photography and Imaging
Entertainment Design Environmental Design Interaction Design Product Design Transportation Design
Integrated Studies trains students to see with their hands and think with their eyes, allowing them to develop a physical and conceptual connection to their studio practice. It’s where Art Center’s commitment to craft and making begins. Wendy Adest Chair, Integrated Studies
A complete education.
Visual literacy — the ability to make, understand and critique shapes, forms, images and spaces — is dependent upon knowing the cultural, historical, scientific and narrative references imbedded in all art and design production. Courses in the Humanities and Sciences department are created to provide contextual knowledge and cultural awareness of these practices. Fred Fehlau
A limitless horizon.
Provost
Public Programs offers a rich and diverse curriculum, providing a vital foundation for students of all ages who are exploring their creativity, seeking information about careers in art and design, or developing a portfolio for entry to Art Center’s degree programs. Dana L. Walker Managing Director, Public Programs
For more information on these programs, see pages 138, 142– 44.
ART CENTER VIEWBOOK 2013–2014
As you pursue excellence in your major, your coursework includes classes in the Integrated Studies department — covering material that is common to all disciplines — and the Humanities and Sciences department — addressing thoughtful inquiry in the liberal arts. Through Art Center’s non-degree Public Programs, you can enhance your portfolio prior to admission, explore broader areas of interest within the visual and applied arts, or continue to bolster your credentials after graduation.
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At Art Center, you discover an innovative and creatively charged atmosphere for pursuing academic and professional growth. Our divergent Graduate programs together comprise an exceptional opportunity to challenge the conventional and establish a unique personal trajectory — whether you seek to create an enterprise, change the way things are done, or meaningfully contribute to artistic and intellectual discourse in any of our six areas of study.
Graduate diversity. Professional growth. Master of Fine Arts
Master of Science
Art Broadcast Cinema (Film) Media Design Practices
Environmental Design Industrial Design Transportation Design
ART CENTER VIEWBOOK 2013–2014
Los Angeles is one of the most creative environments in the world — virtually anything is possible here. Beyond offering unparalleled opportunities in the fields of film and entertainment, L.A. is a hub of innovation in advertising, art, automotive design, communication and digital media, education, societal trends, technology and so much more. As a gateway to the Pacific Rim, Los Angeles reflects a unique worldview, and the influences born here are felt around the globe.
Local opportunities.
© JON HICKS/CORBIS
Global possibilities.
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Celebrated faculty. Lifelong associations.
Art Center’s faculty of 400 working professionals — filmmakers, photographers, fine artists, illustrators and designers of every discipline — bring independent perspectives and firsthand knowledge of today’s creative workplaces into their classrooms. Through real-world associations, internships and mentoring, you will develop lasting relationships with fellow students and faculty — your future colleagues — that can help build a bridge to professional success.
Art Center students are some of the best and most talented creatives in the world, and we offer an education that helps students develop
Vital connections.
their full potential. We look forward to a close partnership with you — one that provides you the space to grow and the support necessary to thrive. Jeffrey Hoffman, M.S. Dean of Students
Art Center provides a remarkable collection of both traditional and leading-edge facilities — from printmaking studios and computer labs to our analog and digital production shops — that offer you the ability to create almost anything you can conceive. Outside class, you are supported by a wealth of resources to further your education and your career — including the Center for the Student Experience, career workshops, employment networks and on-campus portfolio review and recruitment by many leading studios and design firms.
For more on Student Affairs and Career Development, see pages 144 and 147.
ART CENTER VIEWBOOK 2013–2014
Abundant resources.
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You arrive here with a commitment to your creative passions. How you fulfill that commitment will influence the rest of your life — and the lives of others. From the products we use to the environments we experience, from the stories we tell to the technologies we employ, artists and designers wield a powerful hand. At Art Center, you will learn to apply that hand with focus, expertise and responsibility.
You know who you are. Discover what you can become.
Where art and design education meets social change.
At Art Center, our commitment to leadership in art and design education goes beyond excellence in making. We place a strong curricular emphasis on social responsibility and strive to develop creative leaders whose career possibilities are shaped not just by their extraordinary talent, but also by their obligations as responsible citizens and their opportunities as agents of change. This philosophy informs our educational and research activities and emphasizes the powerful role creatives have in addressing social and cultural needs, economic growth and development, and environmental impact. It’s a holistic approach that is nurturing a new generation of artists and designers who define and create opportunities to unleash human potential and propel transformative change. With the founding of our groundbreaking Designmatters initiative in 2001, Art Center pioneered the connection of design education with social impact. Since then, Designmatters’ project-based studios have developed and applied innovative and award-winning solutions to diverse social challenges, both locally and internationally—confirming our belief in the power of art and design to influence change and improve people’s lives. This aspirational philosophy is now applied across all disciplines at the College, and contributes to the unique, inspiring atmosphere on campus.
CHALLENGE DEVELOP NEW TOOLS, PRODUCTS, SYSTEMS AND METHODS OF STORING, UTILIZING, TRANSPORTING AND CONSERVING WATER IN ORDER TO HELP BREAK THE CYCLE OF POVERTY IN THE SLUMS OF CHILE AND PERU. DISCIPLINES INVOLVED ENVIRONMENTAL DESIGN, GRAPHIC DESIGN, PRODUCT DESIGN, TRANSPORTATION DESIGN, GRADUATE BROADCAST CINEMA
We are designing real, actionable solutions to help improve the daily lives of the people living in the campamentos (slums). This is a serious challenge to create real social change. Jacqueline Black Product Design
My passion for this project lies in the idea of community: fostering interaction and building relationships. Designers Through Designmatters, we aspire to redefine and expand the
are problem solvers. Involving creative
role of the artist and designer into one that is a catalyst for
minds and problem solvers in any social
social innovation.
entrepreneurial project opens up the
Mariana Amatullo Vice President, Designmatters Department
opportunity to address essential issues and improve quality of life, but also to inspire and give hope. Stephenie Stalker Environmental Design
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PROJECT SAFE AGUA
Artmatters Concentration
In 2003, in recognition of Designmatters’ service to society, Art Center became the first art and design school to receive Non-Governmental Organization (NGO) status from the United Nations. In 2010, Art Center introduced the Designmatters Concentration, formalizing a curriculum that had been developed through a decade of special initiatives and studio projects. The Concentration is now offered to students who wish to fully explore design for social impact. Students declare the Concentration after their third term and must fulfill a series of academic, discipline-specific and studio-based courses that prepare them for creative and responsible engagement in multidimensional societal challenges. This curriculum prepares students to deploy a toolbox of important skills and reinforces values including empathy, global citizenship, user-led innovation and cultural diversity. At the Graduate level, Designmatters has teamed with Media Design Practices to create a project-based MFA track emphasizing intensive fieldwork in areas where media and communication impact social issues.
With the introduction of the Artmatters Concentration in 2012–13, Art Center continues its leadership in positioning creative disciplines, and their practitioners, as a powerful force for social transformation. This new Concentration, also elected after a student’s third term, offers a course of study that reconsiders the purpose of both fine art and applied arts and their place in the world beyond aesthetics and commerce. Artmatters recognizes and explores the role of activist art that employs diverse practices to confront a range of societal issues in order to promote dialogue and reflection—and sometimes invite powerful calls for change. Artists looking to work outside the traditional gallery marketplace and within a context of meaningful social engagement will find Artmatters an exciting educational option. Artmatters advocates the production of responsible and empathetic art that can serve as a journey of discovery and illumination, as well as an agent of change. Laurence Drieband Chair, Fine Art Department
PROJECT ES TIEMPO CHALLENGE CREATE WAYS TO PERSUADE LATINAS IN UNDERSERVED LOS ANGELES COMMUNITIES TO FOLLOW RECOMMENDED CERVICAL-CANCER SCREENING GUIDELINES. DISCIPLINES INVOLVED ADVERTISING, FINE ART, GRAPHIC DESIGN, ILLUSTRATION, PHOTOGRAPHY AND IMAGING
Having a direct connection to our audience was monumental in shaping the way we looked at what problems to solve and how to solve them. Chris Lack Graphic Design
PROJECT TREE LIBRARY– GIBRAN FLANDERS CHALLENGE BY REMOVING BOOKS FROM THE CONTROLLED ENVIRONMENT OF THE LIBRARY TO THE FREE ENVIRONMENT OF THE OUTDOORS, TREE LIBRARY SEEKS TO FORM COMMUNITY IN A NEW WAY THAT WOULD OTHERWISE NOT BE ATTAINABLE THROUGH CONVENTIONAL READING ENVIRONMENTS.
I find this type of social interaction to be the most interesting and inspiring – that through an artwork a diverse group of people can be brought together. Gibran Flanders Fine Art
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Designmatters Concentration
Educational Partnerships
Art Center’s unique curriculum includes a strong focus on Sponsored Projects, in which student teams tackle a design challenge posed by an outside enterprise partner. The challenges — presented either as a full-term studio project or an intensive one- to three-day DesignStorm — are often highly speculative but can produce viable outcomes that result in immediate or future business relationships between the students and sponsors — and negotiable ownership of any intellectual property produced. These collaborations let students experience real-world working conditions, including presenting and defending their solutions to a panel of business leaders. In return, the College’s partners get access to the fresh, bold thinking of our talented artists and designers.
Art Center is forging educational partnerships that create unique opportunities for our students. In 2005, Art Center developed an exchange program with INSEAD — one of the world’s leading business schools — focusing on the role of design strategy in business. Each year since, select students have taken a term abroad to study alongside MBA candidates at INSEAD in Fontainebleau, France, or in Singapore. In 2006, students at Art Center and Tama Art University, in Tokyo, Japan, launched the Pacific Rim Project, a joint student research effort focusing on shared issues of global concern, such as environmental conservation and natural disasters. Art Center is also collaborating with the Peter F. Drucker & Masatoshi Ito Graduate School of Management on an upcoming dual MBA/MS program. Locally, Art Center students have the chance to enroll in Humanities and Sciences classes at both Caltech and Occidental College, as well as to take classes jointly taught by Caltech and Art Center faculty where students from both colleges explore the intersection of art, design and science. These are among the diverse educational partnerships that highlight Art Center’s trailblazing approach to educating artists and designers capable of creating change across traditional boundaries.
Sponsored Projects are a crucial way to get experience designing
The true benefit of the INSEAD experience comes from engaging
Sponsored Projects
for real-world clients. The process resulted in great portfolio
oneself in the culture of others — an immersion in a totally
pieces and helped me develop my skill sets and build a network of
different way of thinking.
industry contacts. Alexandar Alexiev Transportation Design, Term 7 Project Sponsors: BMW, Roberto Cavalli, Clemson University (Engineering)
Jason Sun Product Design, Term 8
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Collaborations and Partnerships
If you want to join a community of bold imagination, if you want to learn with the best and from the best, if you know in your soul what the innovative spirit can achieve, and if you want a great education that will prepare you for a fulfilling and creative career — look to Art Center College of Design. Lorne M. Buchman President
ART CENTER VIEWBOOK 2013–2014
Why Art Center?
It’s no secret that our business is changing, and changing radically. The ability to “think” and “do” have never been more important. Gary Goldsmith Department Chair
As the new media landscape continues to transform the way advertising looks, feels and interacts, the fundamental need remains for brands to powerfully connect with audiences. At Art Center, you will learn to create those connections by becoming well versed in traditional forms of advertising and expertly prepared to master emerging platforms. Your foundation classes will leave you fluent in the languages of advertising, including film, video, photography, graphic and interactive design, social media and digital engagement. In later terms, you will collaborate with students from other majors in Transdisciplinary Studios and use creative problem solving skills to develop powerful advertising campaigns integrating traditional and new media. Some of those campaigns may be for real-world clients, through Art Center’s in-house ad shop, The Agency. Our Advertising program, founded with Art Center in 1930, is the oldest in the country, and our list of alumni reads like a Who’s Who of the industry. Today, our faculty of leading art directors and copywriters brings a thorough understanding of advertising’s evolving landscape into the classroom, ensuring that you will graduate with the skills and insight to become a leader in shaping its future.
At Art Center you’re taught to fight for good ideas and that if you care about what you are doing it will always show in your work. Jimi Yu Term 8
ART CENTER VIEWBOOK 2013–2014
Advertising
TITLE TIDE TO GO / STUDENT JESSE YOWELL / TERM 6 CLASS SHOOTSELL / INSTRUCTORS MEL SANT & STEPHEN SWENTEK
TITLE COBRA / STUDENT JONATHAN WHITEHEAD / TERM 5 CLASS AD LAB 1 / INSTRUCTORS BLAKE KIDDER & PATRICK ALMAGUER
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TITLE SKULLCANDY INTEGRATED CAMPAIGN / STUDENT LERNIK OHANIAN / TERM 5 / CLASS INTEGRATED ADVERTISING INSTRUCTOR ERIK MILLER
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TITLE NASCAR / STUDENTS MITOS CORPUZ & MELISSA PLOYSOPHON / TERM 5 / CLASS AD LAB 1 INSTRUCTORS BLAKE KIDDER & PATRICK ALMAGUER
TITLE EKTELON / STUDENT DAVE STONE / TERM 5 CLASS AD CONCEPTS 3 / INSTRUCTOR SCOTT WILSON
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Dave Stone 2005
Art Center taught us that no matter how good something was or how perfect we felt it to be, there was — almost without exception — potential for improvement. It was a humbling lesson, but it helped us all gain a discerning eye and a desire to constantly strive to be better than we are.
TERM 1 GPK-151 Typography 2: Structure 3 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3 CUL-203 History of Advertising 3 INT-102 Design 1 GPK/ILL/ADT 3 ADT-109 Communication Design 1 3
TERM 5 ADT-303 Integrated Advertising 3 GPK-201 Typography 3: Context 3 ADT-301 Advertising Concepts 3 3 TERM 6 ADT-351 Advertising Lab 1 ADT-352 Copywriting 2 ADT-350 6th Term Review
3 3 0
TERM 2 PRP-200 Art of Research ADT-152 Art Direction 1 ADT-203 Visual Concepts ADT-302 Creative Process ADT-150 2nd Term Review INT-155 Language of the Moving Image CUL-220 Intro to Modernism
TERM 7 ADT-401 Advertising Lab 2
3
TERM 8 ADT-452 Portfolio Studio ADT-451 Advertising Lab 3
3 3
3 3 3 3 0 3 3
TERM 3 CUL-235 Critical Practice 1 3 GPK-222 Communication Design 3: Narrative 3 ADT-252 Art Direction 2 3 ADT-201 Advertising Concepts 1 3 INT-108 Basics of Photo OR INT-161 Narrative Imaging 3 GPK-155 Interactive Design & Development 1 3
Advertising
TERM 4 PRP-229 Branding Strategies 3 GPK-332 Communication Design 4: Transmedia 3 ADT-251 Advertising Concepts 2 3 ADT-253 Copywriting 1 3 ADT-254 Digital Narrative 3 ADT-250 4th Term Review 0
TITLE NEOSPORIN AD CAMPAIGN / AWARD GOLD ADDY
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Program of Study
Dave Stone is an art director with The Richards Group, the largest independent branding agency in the United States, working on campaigns for Fruit of the Loom and Sub-Zero. His work has earned several national awards and was featured in the Graphis 100 Best in Advertising 2012 annual.
ADDITIONAL REQUIREMENTS Studio Electives Humanities & Sciences Electives: Human Culture Material Environment Professional Practice Human, Culture, Material Environment OR Professional Practice Total Required Units
18 6 6 6 6
3
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Alumni Focus
The concept artist creates the visuals we see in films, video games, animation, commercials, TV shows and theme parks, executing everything from environments and architecture to character and hardware. Tim Flattery Department Chair
Designing unique new objects, characters and worlds requires great imagination, an understanding of how such things are built, and the ability to conceptualize within story. At Art Center, you will focus your creativity and master the skills required of concept designers in the entertainment industry. The Entertainment Design curriculum incorporates and expands upon the reach of Illustration and Industrial Design. You will receive a rigorous education in drawing, rendering, model building and sculpting, and the use of 3D digital tools. Your program will conclude with a senior project focused on an area of particular artistic and professional interest. Your acquired skills and portfolio will allow you to join Art Center alumni — many of whom bring their expertise into our classrooms as faculty and visiting lecturers — as leaders in the field of Entertainment Design.
I applied to Art Center with hopes of not only pursuing what I love but also challenging it. What I experience every day makes me realize how much I have yet to learn, and that has proven to be one of the most exciting feelings in the world. Saiful Haque Term 5
ART CENTER VIEWBOOK 2013–2014
Entertainment Design
TITLE HUNGARIAN AIRFORCE GUNSHIP / STUDENT NOEL EKKER TERM 4 / CLASS VISCOM 4 / INSTRUCTOR FABIAN LACEY
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TITLE PARANOIA / STUDENT MARK YANG / TERM 8 CLASS SENIOR PROJECT / INSTRUCTOR TIM FLATTERY
Entertainment Design
TITLE A COSTUME DESIGNED FOR VIN IN THE BOOK MISTBORN BY BRANDON SANDERSON / STUDENT AHMED ALDOORI / TERM 4 CLASS COSTUME DESIGN / INSTRUCTOR JUSTINE PARISH
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TITLE LAUNCH-PAD / STUDENT ANNIS NAEEM / TERM 5 CLASS PERSONAL PROJECT / PUBLISHER DESIGN STUDIO PRESS
Entertainment Design
TITLE AERIAL SCOUTS / STUDENT ANNIS NAEEM / TERM 6 CLASS PERSONAL PROJECT / PUBLISHER DESIGN STUDIO PRESS
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Entertainment Design
TITLE QUEEN (THE WINDUP GIRL) / STUDENT CLARA MOON TERM FINAL (10) / CLASS SENIOR PROJECT INSTRUCTOR TIM FLATTERY
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Harald Belker 1990
The long and winding road to success as an artist or designer has surprises at every turn. With the mindset that nothing is impossible, Art Center graduates are ready to make the right choices and apply ourselves to succeed.
Entertainment Design
TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3 IDF-102 Viscom Fundamentals 1 3 IDF-103 3D Fundamentals 1 3 IDF-111 Design Process 1 3 IDF-113 Study Models 2 IDF-114 Way Things Work 2 INT-112 Design Fundamentals 1 3
TERM 6 ENT-350 6th Term Portfolio Review 0 ENT-356 Visual Development 3 ENT-364 VC6: Dramatic Narrative 3 ENT-366 Architecture Design 2 3 ENT-367 Character Design 2 3 HMN-202 Human Factors & Design Psychology 3
TERM 2 PRP-201 Art of Research OR PRP-200 Art of Research 3 INT-100 Digital Design 1 3 INT-165 Design Fundamentals 2 3 IDF-151 Design Process 2 3 IDF-152 Viscom Fundamentals 2 3 IDF-153 3D Fundamentals 2 3
TERM 7 ENT-400 Modo, Speed & Advanced Rendering Techniques ENT-402 Vehicles & Props ENT-406 Originality in Design ENT-409 Visual Storytelling PRP-203 Business 101
TERM 3 CUL-220 Intro to Modernism ENT-200 3rd Term Review ENT-201 Creative ID Process ENT-202 VC3: Photoshop Rendering ENT-203 Analytical Figure Drawing ENT-206 Advanced Perspective
TERM 8 ENT-450 Advanced Entertainment Design ENT-471 Entertainment Senior Projects
TERM 4 ENT-207 Imaginatomy ENT-251 VC4: Advanced Material Indication ENT-254 Costume Design ENT-259 Digital Landscape CUL-235 History of Entertainment Design TERM 5 ENT-306 Color Theory for Entertainment ENT-310 Character Design 1 ENT-312 Architecture Design 1 ENT-320 VC5: Figure Rendering HMN-321 Narrative Strategies MAT-205 Theory of Structure
(TOP) TOTAL RECALL 2012 HERO CAR (BOTTOM) FUTURISTIC ELECTRIC MOTORCYCLE TO BE PUBLISHED IN RIDE (DESIGN STUDIO PRESS, 2013)
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Program of Study
Harald Belkar’s graphically bold portfolio shows a remarkable range of styles, from futuristic automotive work to modern sports equipment to furniture, toys and apparel. His credits include the Batmobile for Batman and Robin plus vehicle design for Armageddon, Battlefield Earth, Fahrenheit 451, Inspector Gadget and Minority Report.
3 0 3
3 3 3 3 3
3 3
3 3 3
3 3 3 3 3
3 3 3 3 3 3
ADDITIONAL REQUIREMENTS Studio Electives Humanities & Sciences Electives: Human Culture Material Environment Professional Practice Total Required Units
2 3 3 9 6
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Alumni Focus
Environmental Design is a human-centered discipline that spans the creative process across spatial, object and sensorial interaction. David Mocarski Department Chair
Environmental Design focuses on the total spatial experience — from the first moment of encounter to the last moment of interaction within interior or exterior spaces. At Art Center, you can transform an interest in architecture, interior design or urban planning — to name just a few applicable areas — into a global sense of design that investigates where and how people live, work and play. You can fuel your passion not just for designing what goes inside the box, but rethinking where and why the box exists. Here, you will approach spatial design from the inside out and learn to look at projects as complete sensorial experiences. From this perspective, you will be able to craft a stronger message to drive the context of projects ranging from branded retail sites and theme restaurants to exhibition designs and residential or public spaces. With a focus on delivering effective, inclusive environments using sustainable materials and manufacturing practices, you will demonstrate 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 with, supports and drives our culture.
Art Center has opened me up to a whole new world of brilliance and passion, and the understanding that in the total spatial experience, every moment and detail matters. Ina Kanaoki Term 6
ART CENTER VIEWBOOK 2013–2014
Environmental Design
TITLE NOMA / STUDENT PO-JUI R. HUANG / TERM 5 CLASS EXPERIENCE DESIGN: THEMATIC DINING INSTRUCTOR EMIL MERTZEL
TITLE MICRO OASIS / GROUP PROJECT BELLE SHANG PRESENTING TERM 5 / CLASS SUSTAINABILITY STUDIO / INSTRUCTOR JAMES MERAZ
Environmental Design
TITLE DREAM / STUDENT MAIWEN MAY LIU / TERM 4 CLASS EXPERIENCE DESIGN / INSTRUCTOR EMIL MERTZEL
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TITLE STEAM / STUDENT EVAN LIAO / TERM 5 CLASS EXPERIENCE DESIGN: MICRO BOUTIQUE HOTEL INSTRUCTOR EMIL MERTZEL
Environmental Design
TO RIGHT) TITLE FIN LAMP / STUDENT EVAN LIAO / TERM 6 LULLA ROCKER / STUDENT MELISSA LEE / TERM 6 BACK TO BASICS / STUDENT STEVE OH / TERM 7 TOPIC STUDIO FURNITURE / INSTRUCTORS DAVID MOCARSKI & CORY GROSSER
TITLE MEHN / STUDENT LEIGH ANNE KOBE / TERM 8 CLASS SENIOR STUDIO / INSTRUCTOR JAMES MERAZ
(LEFT TITLE TITLE CLASS
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Environmental Design
TITLE EASE CHAIR / STUDENT SUE CHUNG / TERM 6 CLASS TOPIC STUDIO FURNITURE / INSTRUCTORS DAVID MOCARSKI & CORY GROSSER
TITLE AUGENGLASER IC / STUDENT JOHN D. CLARK TERM 2 / CLASS ENVIRONMENTAL 2 / INSTRUCTORS DAN GOTTLIEB & PENNY HERSCOVITCH
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John Niero 2007
Art Center did more than just educate and train me; it prepared me to actually work in my field after graduation. While in school I was in student mode — full of ideas that were not always practical — but the teaching methods guided me to be focused and realistic in terms of my design process and methodology.
TERM 2 ENV-151 Digital Process 2 3 ENV-152 Environmental Design 2 3 ENV-153 Design Lab 2 3 ENV-265 Visual Communication 2 3 PRP-201 Art of Research OR PRP-200 Art of Research 3 PRP-229 Branding Strategies 3
Environmental Design
TERM 3 ENV-201 Digital Process 3 3 ENV-202 Environmental Design 3 3 ENV-204 Design Lab 3 3 ENV-205 Color, Material & Concept 3 ENV-295 Visual Communication 3 3 ENV-200 3rd Term Review 0 CUL-206 History and Theory of Space 3 TERM 4 ENV-251 Digital Process 4 ENV-252 Environmental Design 4 ENV-253 Structure-Interior Architecture ENV-271 Design Lab 4 CUL-220 Intro to Modernism MAT-203 Illumination: Lighting TERM 5 ENV-254 Sustainability Studio ENV-302 Portfolio Studio ENV-310 Topic Studio MAT-205 Theory of Structure MAT-254 Sustainable Building Practices for Environmental Transdisciplinary Studio
TITLE ELLE LOUNGE AND OTTOMAN, 2009
054
TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3 ENV-101 Digital Process 1 3 ENV-102 Environmental Design 1 3 ENV-103 Design Lab 1 3 ENV-104 Materials & Making 3 ENV-235 Visual Communication 1 3
John Niero’s designs at first seem minimal with clean lines. Looking deeper, different elements can be discovered. Ultimately, his furniture, lighting and design spaces are not what they may initially appear to be — they are just not normal. And that was the impetus for the name of his design studio, justnotnormal.
3 3 3 3 3 3
3 3 3 3
3 3
TERM 6 ENV-310 Topic Studio ENV-311 Digital Process 5 ENV-352 Experience Design ENV-300 6th Term Review CUL-341 History and Theory of Space
3 3 3 0 3
TERM 7 ENV-310 Topic Studio (Take 2 Times) 6 ENV-404 Degree Project: Development 3 HMN-202 Human Factors & Design Psychology 3 TERM 8 ENV-452 Portfolio & Presentation 3 ENV-453 Degree Project: Studio 3 ADDITIONAL REQUIREMENTS Studio Electives Humanities & Sciences Electives: Human Culture Material Environment Professional Practice Total Required Units
9 3 3 6 3
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Alumni Focus
Success in the entertainment industry requires a broader base of knowledge than ever before. Good storytelling skills, the ability to work with actors, technical proficiency and a solid understanding of the business are all essential. Ross LaManna Department Chair
The Film Department at Art Center prepares you for a rapidly changing industry in which one fact remains constant: filmmakers must be gifted visual storytellers. Here, in the heart of the entertainment industry, you will begin shooting immediately, with access to HD, 16mm, 35mm and the latest digital postproduction tools. Every aspect of your curriculum will focus on mastering movie-making skills in order to serve the narrative. Your instructors will be accomplished, working filmmakers, and your class sizes will be small — fostering close, mentoring relationships between instructor and student. In addition, the rich industry tapestry of Los Angeles gives us access to studio heads and A-list talent, who host guest lectures each term. You will specialize in one of three tracks — cinematography, directing or editing — and frequently collaborate with students from other disciplines. You will develop a thorough understanding of the entire filmmaking process, giving you the skills and confidence to succeed, whether you end up working for the studios and networks, independently or in emerging media.
I find it more productive to compete with myself rather than with others. This makes it easier to find my habits and improve my craft. Art Center has been the only environment where I have been able to find and refine my own style. H.R. McDonald Term 7
ART CENTER VIEWBOOK 2013–2014
Film
TITLE THE LEVI BROTHERS / DIRECTOR MIKE REYES AWARD 2011 ADDY AWARD
TITLE ONE BAD THING / WRITER & DIRECTOR DOMENIC MOEN PRODUCER JAKE VIRAMONTEZ / CLASS FILM PRODUCTION WORKSHOP INSTRUCTOR ERIC SHERMAN
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TITLE THE DEAL / DIRECTOR SAMUEL GONZALEZ CLASS DIRECTING 3 / INSTRUCTOR DAVID KELLOGG
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TITLE INFERNUM / DIRECTOR TED MARCUS
TITLE VOICES FROM THE FIELD / DIRECTOR JOHN CAREY AWARD SHORTLISTED FOR CANNES YOUNG DIRECTORS AWARD
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TITLE DEAD GRANDMA WEB SERIES DIRECTOR WILL KINDRICK
TITLE AEXIS / DIRECTOR ERIC CHANG CINEMATOGRAPHER HUGH RYAN MCDONALD AWARD 2012 ASC STUDENT HERITAGE AWARD
062 Film
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TITLE HOW DO WEBSITES WORK? / DIRECTOR ERIK SCANLON FEATURED GODADDY.COM COMMERCIAL CONTEST / AIRED ON ABC, NBC, FOX, ESPN & TNT
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Michael Bay 1988
At Art Center, they teach you to question everything, and to not just accept what you are told or given. You have to make your own choices. Ultimately, that’s what makes a great filmmaker.
TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3 FIL-107 Intro to Post Production 3 FIL-110 Cinematography 1: Fundamentals 1 3 FIL-153 Film Directing 1 3 FIL-006 CPR & 1st Aid Cert Workshop 0 INT-101 Design 1 FILM OR INT-103 Design 1 PHO/FAR 3 INT-108 Basics of Photo 3
TERM 2 CUL-220 Intro to Modernism FIL-154 Film Editing 1 FIL-155 Acting Workshop for Directors FIL-156 Screenwriting 1 FIL-157 Cinematography 2: Fundamentals 2 FIL-205 Storyboarding for Filmmakers
TERM 2 CUL-220 Intro to Modernism FIL-154 Film Editing 1 FIL-155 Acting Workshop for Directors FIL-156 Screenwriting 1 FIL-157 Cinematography 2: Fundamentals 2 FIL-205 Storyboarding for Filmmakers
TERM 2 CUL-220 Intro to Modernism FIL-154 Film Editing 1 FIL-155 Acting Workshop for Directors FIL-156 Screenwriting 1 INT-100 Digital Design 1 FIL-205 Storyboarding for Filmmakers
3 3 3 3 3 3
TERM 5 FIL-317 Pitching FIL-318 Line Producing & Professional Film Production
3 3 3 3 0 3 3
3 3 3 3 3
3 3 3
3
TERM 6 Transdisciplinary Studio
3 3 3 3
TERM 3 CUL-235 Critical Practice 1 FIL-203 Film Directing 2 FIL-204 Film Production Sound FIL-208 Directing 2, Tech Training FIL-254 Film Editing 2
3
TERM 5 FIL-318 Line Producing & Professional Film Production
3
3
TERM 6 Transdisciplinary Studio
3
3
TERM 7 Studio or HDS Electives
TERM 7 Studio or HDS Electives
TERM 8 Studio or HDS Electives
TERM 8 Studio or HDS Electives
TERM 8 Studio or HDS Electives
ADDITIONAL REQUIREMENTS Studio Electives Humanities & Sciences Electives: Human Culture Material Environment Professional Practice
Total Required Units
30 9 6 9 6
135
ADDITIONAL REQUIREMENTS Studio Electives Humanities & Sciences Electives: Human Culture Material Environment Professional Practice Total Required Units
0 3
TERM 4 CUL-211 History of Cinema 1 OR CUL-212 History of Cinema 2 3 PRP-155 Business Affairs for Filmmakers 3 FIL-253 Film Directing 3 3 FIL-257 Film Editing 3: Advance Film Editing 3 FIL-281 Post Production Sound 3
TERM 7 Studio or HDS Electives
ADDITIONAL REQUIREMENTS Studio Electives Humanities & Sciences Electives: Human Culture Material Environment Professional Practice
3 3 3
0
TERM 4 CUL-211 History of Cinema 1 OR CUL-212 History of Cinema 2 3 PRP-155 Business Affairs for Filmmakers 3 FIL-253 Film Directing 3 3 FIL-260 Lighting for Cinematography 3
3
3 3
3
TERM 3 CUL-235 Critical Practice 1 FIL-203 Film Directing 2 FIL-161 Cinematography Tech Training FIL-208 Directing 2, Tech Training FIL-210 Aesthetics Cinematography: Color & Composition
TERM 5 FIL-318 Line Producing & Professional Film Production
3
TERM 6 Transdisciplinary Studio
TITLE TRANSFORMERS: DARK OF THE MOON COURTESY OF PARAMOUNT PICTURES
EDITING TRACK
TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3 FIL-107 Intro to Post Production 3 FIL-110 Cinematography 1: Fundamentals 1 3 FIL-153 Film Directing 1 3 FIL-006 CPR & 1st Aid Cert Workshop 0 INT-101 Design 1 FILM OR INT-103 Design 1 PHO/FAR 3 INT-108 Basics of Photo 3
TERM 4 CUL-211 History of Cinema 1 OR CUL-212 History of Cinema 2 3 PRP-155 Business Affairs for Filmmakers 3 FIL-253 Film Directing 3 3 FIL-281 Post Production Sound 3
Michael Bay is considered one of Hollywood's boldest and most bankable feature film directors. Characterized by an aggressive visual style and high-octane action sequences, his films include Armageddon, Bad Boys, Pearl Harbor, The Rock and the Transformers franchise.
CINEMATOGRAPHY TRACK
TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3 FIL-107 Intro to Post Production 3 FIL-110 Cinematography 1: Fundamentals 1 3 FIL-153 Film Directing 1 3 FIL-006 CPR & 1st Aid Cert Workshop 0 INT-101 Design 1 FILM OR INT-103 Design 1 PHO/FAR 3 INT-108 Basics of Photo 3
TERM 3 CUL-235 Critical Practice 1 FIL-203 Film Directing 2 FIL-204 Film Production Sound FIL-161 Cinematography Tech Training FIL-208 Directing 2, Tech Training FIL-211 Screenwriting 2 FIL-254 Film Editing 2
Film
064
CORE TRACK
39 9 6 9 6
135
Total Required Units
36 9 6 9 6
135
ART CENTER VIEWBOOK 2013–2014
ARTCENTER.EDU/FILM
Alumni Focus
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 Dreiband Department Chair
Artists make things, and artists make things happen. Art can become a new form, as well a new form of understanding. The experimental nature of art actively promotes uncertainty and questions established values. At Art Center, you will be encouraged to make things well and think critically, with the goal of creating compelling acts of imagination that can stir the soul and alter our way of seeing and thinking. The core Fine Art program at Art Center provides programming geared toward nurturing your quest for self-discovery and excellence. The innovative curriculum, spanning drawing, painting, sculpture, installation, film/video, photography and digital imaging, as well as many art and design hybrids, fosters a spirit of critical thought and experimentation. You can also elect a specialized minor — Fine Art Painting and Illustration, or Fine Art Photography and Imaging — to focus your coursework on particular areas of study. And our emerging Artmatters track allows you to explore the power of art to reflect, challenge and foment societal transformation, moving fine art beyond the creation of commodities and into active social engagement.
The enthusiastic support of the Art Center faculty has been a major factor in taking my artistic ambitions far beyond my own prior expectations. Gibran Flanders Term 4
ART CENTER VIEWBOOK 2013–2014
Fine Art
TITLE INSTALLATION, 2012 / STUDENT CINDY PARRA TERM 7 / CLASS INDEPENDENT STUDY
068
Fine Art
ART CENTER VIEWBOOK 2013–2014
ARTCENTER.EDU/FINEART
TITLE UNTITLED, 2012 / STUDENT SOYOUNG KWON TERM 8 / CLASS SENIOR PROJECTS 1/2
TITLE WALL PERFORMANCE, 2011 / STUDENT ANGELA CIONCIOLO TERM 4
070
Fine Art
ART CENTER VIEWBOOK 2013–2014
ARTCENTER.EDU/FINEART
TITLE UNTITLED, 2011 / STUDENT SHANA DIMASE / TERM 8 CLASS SENIOR PROJECTS 1/2
TITLE UNTITLED / STUDENT JASON MEADOWS / TERM 6 CLASS INDEPENDENT PROJECT
072
TITLE PLUNGER, 2012 / STUDENT SOYOUNG KWON / TERM 8 CLASS SENIOR PROJECTS 1/2
Fine Art
ART CENTER VIEWBOOK 2013–2014
ARTCENTER.EDU/FINEART
Richard Galling 2006
Art Center paved the way for my practice. I developed an awareness of art history, critical discourse and how to utilize both in generating work in the studio.
CORE PROGRAM
TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive FAR-101 Rethinking Art 1 INT-103 Design 1 PHO/FAR ILL-113 Drawing Concepts 1 INT-158 Materials of Art & Design FAR-304 Painting Strategies FAR-305 One on One TERM 2 CUL-220 Intro to Modernism INT-101 Digital Design 1 INT-152 Design 2: Structure & Color FAR-202 Studio Practice FAR-152 Studies-Contemporary Sculpture FAR-305 One on One TERM 3 CUL-235 Critical Practice 1 FAR-253 Installation Concepts FAR-204 Art: Structure & Systems INT-108 Basics of Photo OR INT-161 Narrative Imaging INT-155 Language of the Moving Image FAR-154 Drawing as Process FAR-305 One on One
Fine Art
TERM 4 CUL-207 History of Art 1; CUL-208 History of Art 2; OR CUL-209 History of Art 3 FAR-252 Visiting Artist Workshop 1 OR FAR-352 Dialogues with Visiting Artists FAR-451 Contemporary Issues FAR-200 Defining Your Work Advance Critical Practice TERM 5 HMN-324 Readings in Fine Art FAR-351 Studio Visits 1 Transdisciplinary Studio FAR-300 5th Term Review TITLE 11-006 / MEDIUM OIL AND ALKYD ON CANVAS SIZE 24" X 12"
074
Program of Study
TERM 7 FAR-402 Senior Projects 2
3 3 3 3 3 3 1
3 3
3 1
3 3 3 3 3 3 1
3
3 3 3 3
3 3 3 3
TERM 6 HMN-327 Writing About Art 3 FAR-352 Dialogues with Visiting Artists OR FAR-252 Visiting Artist Workshop 3 FAR-403 Fine Art Seminar 3
Artist Richard Galling utilizes specific art historical and pop cultural references to posit a consideration of the contemporary through painting.
TERM 8 FAR-452 Senior Projects 2 FAR-453 Senior Projects 3: Professional Practice
3 3
ADDITIONAL REQUIREMENTS Studio Electives Humanities & Sciences Electives: Human Culture Material Environment Professional Practice Total Required Units
3 3
3
12 3 9 9 3
3 3 3 3
TERM 6 HMN-327 Writing About Art 3 FAR-352 Dialogues with Visiting Artists 1 OR FAR-252 Visiting Artist Workshop 3 FAR-403 Fine Art Seminar 3 TERM 7 FAR-402 Senior Projects 2 TERM 8 FAR-452 Senior Projects 2 FAR-453 Senior Projects 3: Professional Practice Transdisciplinary Studio
3 3 3 3 3 3 1
TERM 3 CUL-235 Critical Practice 1 3 ILL-305 Drawing for Illustration OR ILL-204 Analytical Figure Drawing 3 FAR-204 Art: Structure & Systems 3 ILL-167 Head & Hands 3 INT-155 Language & the Moving Image 3 FAR-305 One on One 1 TERM 4 CUL-207 History of Art 1; CUL-208 History of Art 2; OR CUL-209 History of Art 3 3 FAR-252 Visiting Artist Workshop 1 OR FAR-352 Dialogues with Visiting Artists 3 FAR-451 Contemporary Issues 3 FAR-200 Defining Your Work 3 Advance Critical Practice 3
3 3 3
ADDITIONAL REQUIREMENTS Studio Electives Humanities & Sciences Electives: Human Culture Material Environment Professional Practice Total Required Units
TERM 2 CUL-220 Intro to Modernism 3 INT-101 Digital Design 1 3 INT-152 Design 2: Structure & Color 3 ILL-153 Composition & Painting 3 ILL-208 Composition & Drawing 3 FAR-202 Studio Practice 3 FAR-305 One on One 1
9 3 9 9 3
135
PHOTOGRAPHY AND IMAGING MINOR
TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive FAR-101 Rethinking Art 1 INT-103 Design 1 PHO/FAR PHO-161 Imaging 1 PHO-221 Advance Photographic Processes FAR-305 One on One TERM 2 CUL-220 Intro to Modernism PHO-160 Core Lighting PHO-107 View Camera PHO-211 Imaging 2 FAR-202 Studio Practice PHO-222 Advance Photographic Processes 2 FAR-305 One on One TERM 2 CUL-235 Critical Practice 1 FAR-204 Art: Structure & Systems PHO-319 Imaging 3 PHO-257 Color FAR-305 One on One
TERM 4 CUL-207 History of Art 1; CUL-208 History of Art 2; OR CUL-209 History of Art 3 INT-155 Language of the Moving Image PHO-312 Design 2: Color Theory FAR-200 Defining Your Work FAR-205 Art & Photography TERM 5 HMN-324 Readings in Fine Art FAR-300 5th Term Review Transdisciplinary Studio Advance Critical Practice
3 3 3 3 3
3 3 3 3
3
135
PAINTING AND ILLUSTRATION MINOR
TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive FAR-101 Rethinking Art 1 INT-103 Design 1 PHO/FAR ILL-113 Drawing Concepts 1 INT-158 Materials of Art & Design FAR-304 Painting Strategies FAR-305 One on One
TERM 5 HMN-324 Readings in Fine Art FAR-351 Studio Visits 1 FAR-300 5th Term Review Transdisciplinary Studio
3 3 3 3 3 1
3 3 3 3 3 3 1
3 3 3 3 1
TERM 6 HMN-327 Writing About Art CUL-216 History of Photo 1 OR CUL-218 History of Photo 2 FAR-351 Studio Visits 1 FAR-352 Dialogues with Visiting Artists OR FAR-252 Visiting Artist Workshop FAR-403 Fine Art Seminar FAR-240 Given Time TERM 7 FAR-402 Senior Projects 2
3 3
3 3 3
3
TERM 8 FAR-452 Senior Projects 2 FAR-453 Senior Projects 3: Professional Practice
3 3
ADDITIONAL REQUIREMENTS Studio Electives Humanities & Sciences Electives: Human Culture Material Environment Professional Practice Total Required Units
3
12 3 6 9 3
135
ART CENTER VIEWBOOK 2013–2014
ARTCENTER.EDU/FINEART
Alumni Focus
We see the future of Graphic Design as transmedia design; the art of combining text and image — still or moving — to create meaning across multiple media in print, on screen and in the environment. Nik Hafermaas Department Chair
At Art Center, you will learn to infuse words and images with relevance and beauty, whether creating motion graphics, an interface on the latest mobile device, or setting type by hand in our letterpress shop. You will be challenged to develop communication design solutions over a wide range of media, including books and digital magazines, packaging, 3D motion graphics, apps — and combine all of these into engaging graphic identities and branded experiences. Your accelerated education in the formal principles of design, aesthetics and craftsmanship explores a wide range of career options in communication design. You can then specialize in a single area or continue as a transmedia designer. Courses in design history and pop culture, the language of the moving image, design research, and professional practice — as well as high-profile collaborative projects across different majors, and study-abroad opportunities — will complete your curriculum. By learning to create solutions that are innovative, coherent, artistic and engaging, you will be prepared to excel in design studios and agencies, or as an independent practitioner and entrepreneur in the rapidly evolving field of graphic design.
Art Center has not only taught me how to refine my aesthetic, it has also nurtured my understanding of effective, efficient and innovative design — ultimately equipping me with tools for a viable career. Cindy Mai Term 7
ART CENTER VIEWBOOK 2013–2014
Graphic Design
Graphic Design
PROJECT EXPLORATORIUM TRANSMEDIA PROJECT / STUDENT PAUL HOPPE / TERM 4 CLASS TRANSMEDIA TYPOGRAPHY / INSTRUCTOR BRAD BARTLETT / PROJECT DETAILS GENERATIVE LOGOTYPE, POSTER CAMPAIGN, REAL-TIME TWITTER VISUALIZER & WEBSITE AWARD ADOBE DESIGN ACHIEVEMENT AWARD, CREATIVE QUARTERLY
078
ART CENTER VIEWBOOK 2013–2014
ARTCENTER.EDU/GPK
Graphic Design
PROJECT LEAP SYMPOSIUM TRANSMEDIA PROJECT / STUDENT ELLEN FLAHERTY TERM 4 / CLASS ADVANCED GRAPHIC STUDIO / INSTRUCTOR BRAD BARTLETT PROJECT DETAILS LOGOTYPE, POSTER CAMPAIGN, ENVIRONMENTAL WAYFINDING & WEBSITE
PROJECT DULCE MEXICO REBRANDING / STUDENT SIMON DAVEY TERM 5 / CLASS PACKAGING DESIGN 2 / INSTRUCTOR ANIA BORYSIEWICZ PROJECT DETAILS VISUAL IDENTITY & PACKAGING LINE
080
ART CENTER VIEWBOOK 2013–2014
ARTCENTER.EDU/GPK
Graphic Design
TITLE BIOTECHNOLOGY EXCHANGE BERLIN 2014 / STUDENT KA KIT CHEONG TERM 6 / CLASS IDENTITY SYSTEMS / INSTRUCTOR SIMON JOHNSTON
PROJECT OLD GLOBE THEATRE TRANSMEDIA PROJECT / STUDENT BENJAMIN LEE TERM 5 / CLASS TRANSMEDIA TYPOGRAPHY / INSTRUCTOR BRAD BARTLETT PROJECT DETAILS VISUAL IDENTITY, POSTER CAMPAIGN, ARCHITECTURAL APPLICATIONS & WEBSITE
082
ART CENTER VIEWBOOK 2013–2014
ARTCENTER.EDU/GPK
Everett Katigbak 2006
The biggest thing I took away from Art Center was to focus on the concept, narrative and message of the work I’m doing. I’ve learned to not think about the medium first, but instead to let a creative solution emerge from the specific problem I’m addressing.
TERM 2 PRP-200 Art of Research OR PRP-201 Art of Research GPK-151 Typography 2: Structure GPK-159 Communication Design 2: Context GPK-211 Motion Design 1 OR GPK-155 Interactive Design 1 INT-152 Design 2: Structure & Color INT-161 Narrative Imaging
Graphic Design
TERM 3 CUL-220 Intro to Modernism GPK-201 Typography 3: Context GPK-211 Motion Design 1 OR GPK-155 Interactive Design 1 GPK-222 Communication Design 3: Narrative INT-158 Materials of Art & Design
3
3 1 3 3 3 3
3 3
Everett Katigbak is a communication designer at Facebook who focuses on brand communication through various media, from video and interactive to letterpress and screen printing.
TERM 5 CUL-231 Graphic Design History 2 3 GPK-204 Identity Systems 3 GPK-301 Information Design 3 GPK-354 Package Design 2; GPK-358 Interior Design OR GPK-265 Motion Design 2 3 GPK-407 Transmedia Typography 3 TERM 6 GPK-355 Advanced Graphic Studio: 6th Term GPK-388 MediaTecture Transdisciplinary Studio
3 3 3
TERM 7 PRP-203 Business 101 GPK-400 7th Term Review GPK-405 Advanced Graphic Studio: 7th Term GPK Electives
3 0 3 3
3 3 3
3 3 3 3 3
TERM 4 CUL-230 Graphic Design History 1 3 GPK-250 4th Term Review 0 GPK-254 Package 1 3 GPK-255 Interaction Design 2 OR GPK-208 3D Motion Graphics 3 GPK-264 Typography 4: Interactive; GPK-262 Typography 4: Motion OR GPK-267 Typography 4: Print 3 GPK-332 Communication Design 4: Transmedia 3
BEN BARRY AND EVERETT KATIGBAK, THE BRAINS BEHIND FACEBOOK’S ANALOG RESEARCH LABORATORY.
084
TERM 1 CUL-235 Critical Practice 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive GPK-102 Digital Basics: Lynda.com GPK-109 Communication Design 1: Primer GPK-111 Type 1 INT-102 Design 1 INT-120 Narrative Sketching
TERM 8 GPK-456 Portfolio & Career Preparation GPK-470 Advanced Graphic Studio: 8th Term GPK Electives
3 3 3
ADDITIONAL REQUIREMENTS Studio Electives Humanities & Sciences Electives: Human Culture Material Environment Professional Practice Total Required Units
2 9 3 6 6
135
ART CENTER VIEWBOOK 2013–2014
ARTCENTER.EDU/GPK
Alumni Focus
Illustrators are the magicians — image-makers provoking thought, inspiring wonder and creating beauty — utilizing multiple techniques to create spontaneous and complex visual responses. Ann Field Department Chair
Illustration is the defining art form of the 21st century. It connects everything from high fashion and retail environments to animation, toys and computer games; from political, editorial and street art to mainstream publishing. Illustration’s unique ability to define social, political and cultural ideas makes it an ideal solution for an unparalleled scope of creative and communications projects. At Art Center, you will certainly master drawing skills. But you will also develop your ideas and understanding of illustration’s impact on contemporary culture. After a thorough grounding in foundation classes, you will focus on a curricular track that best suits your talent and career objectives. Illustration Design blends hand and digital practice for licensing, print, publishing and motion. Illustration for Motion applies to students interested in storyboarding and motion design. Illustration/Fine Art is for the student seeking to adapt illustration skills to the gallery environment. And Entertainment Arts prepares you for a fast-paced career in feature animation. However you tailor your curriculum, you will graduate Art Center with the tools to translate your creative gifts into rewarding and meaningful pursuits.
I came to Art Center because they did not lower their standards for me but made it clear that I was expected to rise to meet them. Ben Sanders Term 6
ART CENTER VIEWBOOK 2013–2014
Illustration
TOP & RIGHT TITLE LONDON SHOWERS / STUDENT JUNHEE SIM TERM 7 / CLASS ILLUSTRATION FOR LICENSE / INSTRUCTORS ANN FIELD & CHRISTINE NASSER
TITLE SHRINE / STUDENT BEN SANDERS / TERM 6 CLASS COLOR THEORY / INSTRUCTOR ADAM ROSS
088 Illustration
ART CENTER VIEWBOOK 2013–2014
ARTCENTER.EDU/ILLUSTRATION
TITLE FRATERNITY HAZING / STUDENT SARA SAEDI COURSE OP ED / INSTRUCTORS BRIAN REA & PAUL ROGERS
TITLE OLYMPICS 2012 POSTER / STUDENT TORY LIN / TERM 6 CLASS LONDON ANCIENT MODERN STUDY AWAY PROJECT INSTRUCTORS ANN FIELD, CLIVE PIERCY & PAUL ROGERS
090 ARTCENTER.EDU/ILLUSTRATION
ART CENTER VIEWBOOK 2013–2014
TITLE LADY GAGA, “BLUE PHASE” / STUDENT ALLISON KRUMWIEDE COURSE MEDIA EXPERIMENTATION / INSTRUCTORS ROB CLAYTON & CHRISTIAN CLAYTON
Illustration
TITLE JAPANESE GARDEN / STUDENT RUOLIN LI
TITLE COOKIE / STUDENT MARION MCCALLY / TERM 8 CLASS INDEPENDENT STUDY / INSTRUCTOR ALEX SCHAEFER
092
Illustration
ART CENTER VIEWBOOK 2013–2014
ARTCENTER.EDU/ILLUSTRATION
Patrick Hruby 2010
There is no doubt that Art Center was difficult. I was constantly being pushed to work harder, discover more, see clearer. What is most important is that what I was uncovering was not a great mystery, but myself. Art Center empowered me with a voice. Work aside, I made some of my best friends. Being surrounded by such talented classmates was humbling. I have the greatest respect for them all.
CORE ILLUSTRATION PROGRAM
TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3 ILL-101 Illustration Now 0 ILL-106 Perspective 3 ILL-167 Head & Hands 3 ILL-208 Composition & Drawing 3 INT-102 Design 1 GPK/ILL/ADT 3
ENTERTAINMENT ARTS TRACK TERM 2 CUL-235 Critical Practices 1 3 IDF-102 Viscom Fundamentals 1 3 ILL-153 Composition & Painting 3 INT-100 Digital Design 1 3 INT-152 Design 2: Structure & Color 3 TERM 3 ILL-211 Motion Design 1 OR ILL-258 Digital Illustration 3 ILL-256 Creative Perspective 3 ILL-305 Drawing for Illustration OR ILL-355 Dynamic Sketching for Illustration OR ILL-204 Analytical Figure Drawing OR ILL-254 Inventive Drawing OR ILL-381 Imaginatomy 3 INT-158 Materials of Art & Design 3 CUL-220 Intro to Modernism 3
TITLE WEST WIND / DESCRIPTION WEST WIND IS ONE IN A SERIES OF PROMOTIONAL PIECES DEPICTING THE FOUR WINDS. THE COLORS AND SHAPES WERE INSPIRED BY KITES ON THE BEACHES OF SOUTHERN CALIFORNIA.
Illustration
094
Program of Study
TERM 4 CUL-230 Graphic Design History 1; CUL-207 History of Art 1; CUL-208 History of Art 2; CUL-209 History of Art 3 OR CUL-215 History of Illustration 3 ILL-305 Drawing for Illustration OR ILL-355 Dynamic Sketching for Illustration OR ILL-204 Analytical Figure Drawing OR ILL-254 Inventive Drawing OR ILL-381 Imaginatomy 3 ILL-207 Sketching for Illustration 3 ILL-253 Image & Idea 3 INT-155 Language of the Moving Image 3 TERM 5 ILL-300 5th Term Portfolio Review 0 ILL-315 Illustrative Storytelling OR ILL-241 Sketching for Entertainment 3 ILL-359 Digital Landscape 3 INT-203 Expressive Type OR INT-111 Type 3 INT-252 Color & Story 3 Advance Critical Practice 3
Patrick Hruby graduated from Art Center in 2010. Since then, his work has caught the eye of clients such as The New York Times Magazine and AMMOBooks. Hruby’s versatile aesthetic has led to work with Sprint, Coca-Cola, Volkswagen, Target and Todd Oldham. Besides commercial work, he also exhibits in various galleries, including a solo exhibition with Sloan Fine Art at CultureFix, New York, and group exhibitions in Los Angeles at Giant Robot, R&R Gallery, Gallery Nucleus and Thinkspace.
TERM 6 ILL-321 Storyboarding ILL-333 Style Development ILL-391 Historical Env Matte Painting OR ILL-277 Digital Life ILL-357 Children’s Book Illustration ILL-415 Background Painting/ Animated Film
3
3 3 3
TERM 7 ILL-339 Graphic Design for Entertainment Arts ILL-356 Visual Development ILL-374 Inventive Character OR ILL-370 Matte Painting Transdisciplinary Studio OR ILL-210 Intro to Maya PRP-203 Business 101 TERM 8 ILL-453 Portfolio Design Lab ILL-471 Entertainment Senior Project ADDITIONAL REQUIREMENTS Humanities & Sciences Electives: Human Culture Material Environment Professional Practice
3 3 3 3 3
ADDITIONAL REQUIREMENTS Studio Electives Humanities & Sciences Electives: Human Culture Material Environment Professional Practice Total Required Units
15 9 3 9 6
135
ILLUSTRATION DESIGN TRACK 3 3
TERM 2 CUL-235 Critical Practices 1 3 ILL-113 Drawing Concepts 1 3 ILL-153 Composition & Painting 3 INT-100 Digital Design 1 3 INT-152 Design 2: Structure & Color 3
9 3 TERM 3 9 CUL-220 Intro to Modernism 3 6 ILL-211 Motion Design 1 OR Total Required Units 135 ILL-258 Digital Illustration 3 ILL-305 Drawing for Illustration 3 INT-158 Materials of Art & Design 3 FINE ART PAINTING TRACK INT-203 Expressive Type OR TERM 2 GPK-111 Type 1 3 CUL-235 Critical Practices 1 3 ILL-113 Drawing Concepts 1 3 ILL-153 Composition & Painting 3 TERM 4 INT-100 Digital Design 1 3 CUL-230 Graphic Design History 1; INT-152 Design 2: Structure & CUL-207 History of Art 1; Color 3 CUL-208 History of Art 2; CUL-209 History of Art 3 OR CUL-215 History of Illustration 3 TERM 3 ILL-207 Sketching for Illustration 3 ILL-211 Motion Design 1 OR ILL-253 Image & Idea 3 ILL-258 Digital Illustration 3 ILL-315 Illustrative Storytelling 3 ILL-305 Drawing for Illustration 3 ILL-325 Nude Body OR INT-158 Materials of Art & Design 3 ILL-171 Portraiture 3 CUL-220 Intro to Modernism 3 Advanced Critical Practice 3 TERM 5 FAR-255 Printmaking OR TERM 4 FAR-254 Intro to Printmaking 3 CUL-230 Graphic Design History 1; ILL-300 5th Term Portfolio CUL-207 History of Art 1; Review 0 CUL-208 History of Art 2; ILL-260 Illustration Design 3 CUL-209 History of Art 3 OR ILL-261 Illustration Design Lab 3 CUL-215 History of Illustration 3 INT-251 Color Theory 3 ILL-207 Sketching for Illustration 3 Advanced Critical Practice 3 ILL-253 Image & Idea 3 ILL-325 Nude Body OR ILL-171 Portraiture 3 TERM 6 ILL-319 Advanced Illustration Studio 3 TERM 5 ILL-377 Illustration for Publishing FAR-101 Rethinking Art 1 3 OR FAR-304 Painting Strategies 3 ILL-357 Children’s Book ILL-171 Portraiture OR Illustration 3 ILL-325 Nude Body 3 Transdisciplinary Studio 3 ILL-300 5th Term Portfolio Review 0 INT-251 Color Theory 3 TERM 7 ILL-318 Notorious OR ILL-216 Advanced Portraiture 3 TERM 6 PRP-203 Business 101 3 FAR-255 Printmaking 3 ILL-216 Advanced Portraiture 3 Transdisciplinary Studio 3 TERM 8 ILL-453 Portfolio Design Lab 3 TERM 7 FAR-352 Dialogues w/Visiting ADDITIONAL REQUIREMENTS Artists 3 Studio Electives 15 FAR-403 Fine Art Seminar 3 Humanities & Sciences Electives: ILL-421 Supersized 3 Human 9 PRP-203 Business 101 3 Culture 3 Material Environment 9 Professional Practice 6 TERM 8 ILL-453 Portfolio Design Lab 3 Total Required Units 135
MOTION TRACK
TERM 2 CUL-220 Intro to Modernism 3 ILL-153 Composition & Painting 3 INT-100 Digital Design 1 3 INT-152 Design 2: Structure & Color 3 INT-158 Materials of Art & Design 3 TERM 3 CUL-235 Critical Practice 1 ILL-211 Motion Design 1 ILL-305 Drawing for Illustration ILL-258 Digital Illustration INT-155 Language of the Moving Image
3 3 3 3 3
TERM 4 CUL-230 Graphic Design History 1; CUL-207 History of Art 1; CUL-208 History of Art 2; CUL-209 History of Art 3 OR CUL-215 History of Illustration 3 ILL-207 Sketching for Illustration 3 ILL-113 Drawing Concepts 1 3 ILL-214 3D Motion Graphics 3 ILL-266 Storyboarding 1: Design & Sequencing 3 TERM 5 GPK-265 Motion Design 2 FAR-253 Image & Idea ILL-261 Illustration Design Lab ILL-315 Illustrative Storytelling OR ILL-241 Sketching for Entertainment Advanced Critical Practice TERM 6 ILL-203 Expressive Type OR INT-111 Type 1 ILL-314 Advanced 3D Motion Graphics ILL-319 Advanced Illustration Studio ILL-368 Storyboarding 2: Live Action
3 3 3
3 3
3 3 3 3
TERM 7 FIL-261 Digital Motion Compositing Transdisciplinary Studio; FAR-254 Intro to Printmaking; FAR-255 Printmaking OR ILL-210 Intro to Maya PRP-203 Business 101
3 3
TERM 8 ILL-453 Portfolio Design Lab
3
3
ADDITIONAL REQUIREMENTS Studio Electives Humanities & Sciences Electives: Human Culture Material Environment Professional Practice Total Required Units
9 9 3 9 6
135
ART CENTER VIEWBOOK 2013–2014
ARTCENTER.EDU/ILLUSTRATION
Alumni Focus
Interaction Designers drive so much of today’s user experience — mobile apps, games, services, the Web and wired environments. Making those interactions useful, delightful and innovative is a skill that can become a lifelong passion. Maggie Hendrie Department Chair
Spanning many industries and disciplines, Interaction Design is experiencing a period of tremendous growth and expanding career opportunities, and in 2012 is available as a degree program at Art Center. In this new course of study, you will learn to think deeply about the user’s experience, apply technology creatively and invent new approaches to interaction and design. By considering type, image, product design, environment, technology and psychology, you will design cohesive systems that deeply impact people’s lives. Whether it is for a mobile app, an exhibition interface, a new consumer product or a rich informational website, the curriculum emphasizes core methods, tools and processes that will prepare you to lead as new technologies emerge.
ART CENTER VIEWBOOK 2013–2014
Interaction Design
Maggie Hendrie Department Chair
What is Interaction Design? Everywhere and anywhere that you see mobile apps, electronics, websites, games, social networks, art installations and public spaces — these are all designed interactions. People interact with every object or system in our world, whether it’s human-made or natural. Interaction Design focuses on the human user experience, and considers how real people think, feel and behave when they use a product, environment or system. Does Interaction Design go beyond working with technology? Absolutely. Technology is only part of the equation; we also work with product design and graphic design, content design and service design, psychology and other human factors. The interaction designer asks, “What’s valuable and meaningful? What will delight, satisfy or be useful to an actual person?” And then she can blueprint, wireframe, sketch or model what a solution or innovation might look like. How are the technological aspects of the discipline addressed? Students learn programming and technical skills to a certain degree: they need to experience it and understand how technology enables and shapes user interaction. For some students, programming will become their passion — and perhaps they’re choosing this path because it already is. But for others, once they understand it enough to know what the programmer needs from them, they will be better able to communicate their vision to others who are expert in specific technologies that bring the product or system to life. In terms of process, what do Interaction Designers do? Interaction designers drive the user experience in mobile devices, games, software, electronics, etc. — all kinds of things that allow people to communicate, work, live and play. We start by observing, by watching what people do in their world. And every step of the way, we’re asking, “What are they thinking? How are they feeling? What are they doing?” We make a lot of prototypes, work with many users and constantly try to make the experience simple, intuitive, useful. What type of person is drawn to Interaction Design? Interaction designers genuinely believe the way people interact with their world deeply influences their quality of life. Part maker, part thinker, we see students with interests in visual design, psychology, engineering, art and product design. They are often systems thinkers; people who can see the big picture but also focus on the details. How does Interaction Design differ from other types of design? In many design fields the focus is on the finished piece; impeccable and beautiful — it’s complete and I can display it. However, when one makes something interactive, it doesn’t fully exist in the world until
somebody is interacting with it. So there’s a form of co-creation with the end user. And that can lead us into unexpected directions. For example? Who knew, when they were handed what was considered a simple music player — mp3 or iPod — that people would start podcasting and creating mash-ups? That entrepreneurs would create whole new businesses online? That’s where the observation part of the process comes back into play. In that sense, interaction design is closely linked with product design — particularly when it comes to the concept of a product roadmap — and observing how the user’s relationship with the object changes over time. It comes down to relationship design. Why study Interaction Design at Art Center? Art Center has a long history of prize-winning interaction design within several departments, as well as a large community of graduates, sponsors and faculty who are currently working in the field. We believe there is a core set of skills, craft and activities that make people extremely good at interaction design. Also, Art Center is already outstanding in the very fields in which interaction is applied: environments, interfaces, products, automotives, social projects and systems. How does the curriculum unfold? The program begins with hands-on classes in graphic and product design, strategy, human-computer interaction and investigative research, as well as theory and criticism through the humanities and sciences. Students can expect to get very good at storytelling, modeling, sketching, paper prototyping and thinking of creative ways to convey user experiences. Coursework explores broad modalities in design — auditory, tactile and motion. In upper terms, students focus on developing their own design perspectives and devise new solutions to specific contemporary and future design challenges. We also offer our students Transdisciplinary and elective studios so they can hone their skills, experiment and get exposure to other Art Center departments. What sort of career opportunities are available for graduates? Interaction designers are being hired in many industries to work as Interface Designers, Information Architects, Social Media Strategists and User Experience (UX) Designers. In Southern California alone we have opportunities in the worlds of startups, apparel, furniture, toys, gaming, automotive, biotech and entertainment. But we teach process and principles that cross disciplines and support new and future technologies, and we expect our students not just to find employment, but to bring innovation to, and ultimately become creative visionaries for the industries in which they work.
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TITLE MUSIC THE LISTENER'S ART: MODULAR MUSIC E-BOOK STUDENTS LINK HUANG, MIKE MANALO & BORA SHIN CLASS PRODUCTIVE INTERACTION / INSTRUCTOR PHIL VAN ALLEN PROGRAM MEDIA DESIGN
TITLE PHILIPS DIABETIC MONITOR / STUDENT BRYCE BUTCHER CLASS PRODUCT BRANDING / INSTRUCTOR JAMES CHU PROGRAM PRODUCT DESIGN
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TITLE STEPS WAYNE TANG, INTERACTIVE STEVE KIM /
/ STUDENTS NANCY CHUI, KEVIN KWOK, RACHEL THAI & WINNIE YUEN / CLASS DESIGN 3 INSTRUCTORS TODD MASILKO & PROGRAM GRAPHIC DESIGN
TITLE ATMOSPHERE WEATHER VISUALIZER / STUDENT JESSICA NORDQUIST / INSTRUCTORS BRAD BARTLETT, BRIAN BOYL & MICHAEL WILSON / PROGRAM GRAPHIC DESIGN
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TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3 GPK-102 Digital Basics: Lynda.com 1 IDF-102 Viscom Fundamentals 1 3 IDF-103 3D Fundamentals 1 3 INT-102 Design 1 3 IXD-101 Interaction Design 1 3 IXD-102 Interaction Prototyping 1 3
TERM 3 CUL-220 Intro to Modernism 3 MAT-314 Digital Electronics 3 PRP-201 Art of Research 3 GPK-301 Information Design 3 IXD-200 3rd Term Portfolio Review 1 IXD-201 Interaction Design 3 3 IXD-202 Interaction Prototyping 3 3 TERM 4 History & Futures of IxD 3 Data Visualization 3 INT-254 Materials & Explorations 3 IXD-251 Interaction Design 4 3 IXD-252 Interaction Prototyping 4 3
TITLE AROMA—WILLIAMS-SONOMA DIGITAL RECIPE ALBUM STUDENT BESSY LIANG / PROGRAM GRAPHIC DESIGN
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TERM 2 HMN-202 Human Factors & Design Psychology 3 IDF-114 Way Things Work 2 IDF-152 Viscom Fundamentals 2 3 INT-152 Design 2: Structure & Color 3 IXD-151 Interaction Design 2 3 IXD-152 Interaction Prototyping 2 3
TERM 5 Design (TBD) INT-201 Rapid Prototyping IXD-301 Interaction Design 4 Transdisciplinary Studio
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TERM 6 Design (TBD) PRP-229 Branding Strategies IXD-350 6th Term Review IXD-351 Interaction Design 6 Transdisciplinary Studio
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TERM 7 Professional Practice 1 IXD-401 Interaction Design 7 IXD-410 Advanced Interaction Studio TERM 8 Professional Practice 2 IXD-420 Interaction Studio Portfolio Prep IXD-451 Interaction Design 8
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ADDITIONAL REQUIREMENTS Studio Electives 13 Humanities & Sciences Electives: Human 6 Culture 3 Material Environment 6 Human, Culture, Material Environment, OR Professional Practice 3 Total Required Units
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Program of Study
Image makers today face the challenge of being more technically capable, conceptually knowledgeable, professionally confident, responsible and culturally aware than ever before. Dennis Keeley Department Chair
In the 21st century, new avenues of communication, innovative research and developments in hardware, software and media have impacted almost every traditional means of image production and distribution. Photography has not changed as a result of these developments. On the contrary, photography is the driver of many of these technological and perceptual changes in culture, the marketplace and the world. Images are the new global documents. They represent a new literacy and currency of this time, and continue to be the most essential component of compelling stories for a world with an insatiable need to be critically informed by the great moments that photographers emphatically convey. Art Center offers an intimate and intense atmosphere of study that challenges assumptions about our medium, nurtures and promotes originality, and encourages individualized practice in student work. Here, you will learn to apply the tools of photography — traditional and digital — in a specific and personal investigation of cultural condition or question. Our program stresses social awareness coupled with the integration of professional strategies in the development of a potentially dynamic career in image making.
Art Center has given me a solid foundation of technical training that I now apply both to client assignments and personal work. The discipline and work ethic that I’ve developed through the rigorous Photo program will definitely carry forward well beyond graduation. Stella Kalinina Term 6
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TITLE UNTITLED / STUDENT CAMILLO LONGO / TERM 5 CLASS PERSONAL PROJECT
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TITLE UNTITLED / STUDENT HIROYUKI SEO / TERM 4 CLASS PERSONAL PROJECT
TITLE UNTITLED / STUDENT LINUS SHENTU / TERM 2 CLASS PERSONAL PROJECT
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TITLE UNTITLED / STUDENT JUNETAE CHO / TERM 7 CLASS PHOTO PRODUCTION / INSTRUCTOR ANN CUTTING
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Spencer Lowell 2007
Art Center showed me how to turn a passion into a career. In addition to the knowledge I gained, the people that I came into contact with have proven to be an irreplaceable resource. Since becoming a professional photographer, there hasn’t been a day that’s gone by where I haven’t implemented some aspect
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TERM 4 CUL-216 History of Photo 1 PHO-311 Still Life 1 PHO-251 Architecture PHO-154 Fine Art Photography Advanced Critical Practice
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TERM 5 CUL-218 History of Photo 2 3 PHO-258 Location Photography 3 PHO-312 Design 2, Color Theory 3 PRP-345 Business & Professional Practice 3 PHO-300 5th Term Review 0 TERM 6 PHO-360 Portfolio Development PHO-346 Marketing & Self Promotion PHO-347 Marketing Existing Photography Transdisciplinary Studio
With an eye for art and a mind for science, Spencer Lowell aims to create photographs that unify these two fields. His images have appeared in Esquire, Forbes, Time, Wired and many other publications.
TERM 7 PHO-457 Working Photographer 3 PHO-411 Photo Production 3 PHO-400 7th Term Review Commercial 0 TERM 8 PHO-461 Final Crit
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TERM 2 CUL-220 Intro to Modernism 3 PHO-211 Imaging 2 3 PHO-160 Core Lighting 3 PHO-107 View Camera 3 PHO-204 Composition 3 PHO-222 Advanced Photographic Processes 2 3 TERM 3 PHO-257 Color PHO-217 Portrait Lighting PHO-200 3rd Term Review PHO-319 Imaging 3 CUL-235 Critical Practice 1 PRP-260 Professional Presentation
TITLE SOCCER FIELD IN MACARTHUR PARK, CA
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of my education.
TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive PHO-161 Imaging 1 PHO-102 Concept INT-103 Design 1 PHO/FAR PHO-221 Advanced Photographic Processes 1
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ADDITIONAL REQUIREMENTS Studio Electives Humanities & Sciences Electives: Human Culture Material Environment Professional Practice Total Required Units
18 9 3 6 3
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Emerging technologies and platforms for innovation are enabling “design entrepreneurs” to take ideas from concept to marketplace. It’s imperative that students understand the opportunities they have to shape our future. Karen Hofmann Department Chair
While the core of what we do as product designers is understanding people’s needs, identifying opportunities for innovation, visualizing ideas and realizing solutions, the role of design is expanding and diversifying. Design is increasingly recognized as crucial to achieving commercial and organizational success, and also for the vital role it can play in improving lives. Our curriculum provides you with a foundation in the design process, grounded in a human-centered approach and in professional practice. Along with core visual, creative, technical and analytical skills, you will gain a comprehensive understanding of design research methodologies, business principles, materials technologies, manufacturing processes, global trends and sustainability through access to our state-of-the-art research lab, CMTEL (Color, Materials and Trends Exploration Laboratory). Good design is about combining functionality, relevance and commercial viability with visual and emotional appeal in a marketplace that demands products that minimize environmental impact — from production to disposal. You will become prepared to meet these needs on both local and global scales, develop the tools to visualize the future and acquire the skills to become a creative leader.
Art Center really leads designers toward innovative and impactful outcomes. Now I’m able to take my passion for problem solving and elevate my designs with extensive research, rich materials and advanced technologies. Kristina Marrero Term 5
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TITLE SOLISTA IPHONE MIDI / STUDENT GERMAN AGUIRRE-RAEDER TERM 2 / CLASS PRODUCT 1 / INSTRUCTORS NORMAN SCHUREMAN & WAKAKO TAKAGI / AWARD IDEA SILVER 2011
TITLE DIGIFI: AUDIONAUTS / STUDENT MIKE KIM / TERM 6 CLASS CREATIVE STRATEGIES INSTRUCTOR FRIDOLIN BEISERT AWARD IDEA GOLD 2012
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TITLE CARGO PORTABLE GRILL STUDENT JACK HEE SEUNG LIM / TERM 8 / CLASS PRODUCT DEVELOPMENT / INSTRUCTOR GRANT DELGATTY
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TITLE C-LINE BAG COLLECTION STUDENT JUSTINE PARISH / TERM 7 CLASS DESIGN RUNWAY
TITLE HALAX RESPIRATORY DEVICE STUDENT TOM TSAI / TERM 4 / CLASS PRODUCT 2 INSTRUCTOR FRIDOLIN BEISERT
TITLE CADENCE PROSTHETIC FOR CYCLISTS STUDENT SETH ASTLE / TERM 4 / CLASS PRODUCT 2 INSTRUCTOR FRIDOLIN BEISERT
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TITLE HANDA N2 SOLIDWORKS MODEL STUDENT ANDREW KIM / TERM 4 / CLASS SOLID MODELING / INSTRUCTOR NATHAN ALLEN
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TITLE HYBRID PERFORMANCE SKI & SNOWBOARD BOOT STUDENT JACK HEE SEUNG LIM / TERM 7 / CLASS PRODUCT BRANDING / INSTRUCTOR JAMES CHU
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(NEAR RIGHT) TITLE BALDE A BALDE PORTABLE FAUCET STUDENT KIM CHOW / (FAR RIGHT) TITLE GIRA DORA HUMAN POWERED WASHER & SPIN DRYER / STUDENT ALEX CABUNOC / CLASS DESIGNMATTERS: SAFE AGUA PERU INSTRUCTORS PENNY HERSCOVITCH, DAN GOTTLIEB & LILIANA BECERRA
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Art Center College of Design is an amazing place to challenge the status quo. It provides you with all the necessary skills for the real world, and opens doors in so many ways. I would certainly not have had all the opportunities I’ve had without my experience at Art Center.
TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive IDF-102 Viscom Fundamentals 1 IDF-103 3D Fundamentals 1 IDF-113 Study Models IDF-114 Way Things Work INT-112 Design Fundamentals 1 PRD-151 Product Design 1
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TERM 2 CUL-220 Intro to Modernism 3 IDF-153 3D Fundamentals 2 3 INT-100 Digital Design 1 3 INT-165 Design Fundamentals 2 3 PRD-152 Visual Communication 2 3 PRD-201 Product Design 2 3
NIKE PRO TURBOSPEED SUIT, TRACK AND FIELD UNIFORM: LIGHTEST. FASTEST. GIVING THE ATHELETE AN ADVANTAGE OF UP TO 0.043S FOR 100M. MADE OUT OF 13 RECYCLED BOTTLES.
TERM 3 CUL-214 History of Industrial Design 3 INT-201 Rapid Prototyping 3 PRD-104 ID Form Language 3 PRD-200 3rd Term Review 0 PRD-202 Visual Communication 3 3 PRD-251 Product Design 3 3 TERM 4 MAT-206 Materials & Methods 3 PRD-215 Product Design 4 3 PRD-252 Visual Communication 4 3 PRD-254 ID Graphics 3 PRD-255 Solid Modeling 3 TERM 5 MAT-313 Design for Sustainability 3 PRD-253 Product Design 5 3 Internship Portfolio 2 PRD-302 Visual Communication 5 3 PRD-317 Interface Design 3 PRD-404 Industrial Design Research 3
As global creative director at Nike, Inc., Martin Lotti sets the vision and seasonal direction across footwear, apparel, accessories, brand and retail for the football category. As global creative director for the Olympics, he was in charge of all Nike products worn by athletes at the London Summer Games, including the ubiquitous Volt Flyknit.
TERM 6 HMN-202 Human Factors & Design Psychology 3 PRP-351 The Business of Design 3 PRD-277 Product Design 6 3 PRD-306 Open Innovation 3 PRD-350 6th Term Review 0 PRD-352 Visual Communication 6 3 TERM 7 PRP-330 Insights PRP-350 The Design Professional PRD-426 Product Design 7 Transdisciplinary Studio
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TERM 8 PRD-454 Portfolio PRD-455 Product Design 8 Professional Preparation
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ADDITIONAL REQUIREMENTS Studio Electives Humanities & Sciences Electives: Human Culture Material Environment Professional Practice Total Required Units
9 3 6 6 3
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Martin Lotti 2007
NIKE FLYKNIT SHOE, MARATHON SHOE. ONLY 160G. MOST ENVIRONMENTALLY FRIENDLY SHOE IN NIKE'S HISTORY.
Product Design
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Alumni Focus
Our students have a keen interest in the important challenges facing all aspects of transportation and see them as opportunities to utilize technology as a stimulus for creative and innovative design solutions. Stewart Reed Department Chair
The challenges facing the automotive industry present tremendous opportunities for transportation designers. Art Center has long served as a catalyst for innovation, and with dozens of advanced automotive design studios and companies leading the emerging fields of new mobility and alternative energy located in Southern California, you will be positioned right at the heart of transportation design’s future. In addition to traditional elements of styling, comfort, safety and usability, our curriculum emphasizes critical topics such as sustainable mobility and the implications of brand and product life cycle. You will gain fluency in drawing and both physical and digital modeling skills, as well as develop an understanding of vehicle architecture, materials and process, and aerodynamics. Today, our department is known for more than just its longstanding influence in automotive design, and can prepare you for a career in motorcycle, marine, aircraft, commercial transport, personal mobility and public transit design. Exploring the balance between form and function, you will develop the ability to create vehicle concepts with distinct personality, improved function and broad social impact.
There’s a very high level of learning in this program, as most of our teachers are professional designers who work in the industry. That enables us to understand what is happening in the real world of transportation design — to know the box before breaking out of it. Thomas Belhacene Term 5
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Transportation Design
TITLE HSB HYBRID SPORT BICYCLE / STUDENT TOMAS BUBILEK TERM 8 / CLASS ADVANCED PRODUCT DESIGN 3 / INSTRUCTOR BUMSUK LIM
STUDENT JOON KIM / TERM 5 / CLASS RED CROSS MOBILITY DESIGN / INSTRUCTORS GAYLORD ECKLES & MAREK DJORDJEVIC
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(TOP & BOTTOM) STUDENT JENNIFER CHOY CLASS VISUAL COMMUNICATION 7 INSTRUCTOR JAE MIN
STUDENT JEONG MIN AHN / TERM 7 CLASS INDEPENDENT STUDY INSTRUCTOR JAE MIN
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TITLE BENTLEY ROADSTER / STUDENT BENJAMIN KNAPP VOITH / TERM 8 / CLASS SENIOR PROJECT
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TITLE HURUM YACHT / STUDENT JONG HOON KIM TERM 6–7 CLASS INTRODUCTION TO MARINE DESIGN INSTRUCTORS JEFF SHAW & PHIL ARNOLD
Transportation Design
TITLE PLUSONE / STUDENT TOMAS BUBILEK / TERM 6 CLASS PERSONAL MOBILITY / INSTRUCTOR BUMSUK LIM
TITLE JAGUAR ROADSTER / STUDENT YOON TAEHO TERM 8 / CLASS SENIOR PROJECT
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Jeff Nield 2005
Art Center instilled in me that there is true value to remaining a “good student” well beyond graduation. Maintaining a youthful curiosity, embracing constant observation and collaborating with others will always yield a better result.
TERM 2 PRP-201 Art of Research 3 INT-100 Digital Design 1 3 INT-165 Design Fundamentals 2 3 IDF-151 Design Process 2 3 IDF-152 Viscom Fundamentals 2 3 IDF-153 3D Fundamentals 2 3
Transportation Design
TERM 3 CUL-220 Intro to Modernism CUL-210 History of Automobile Design TRN-211 Auto Design 3: Exterior Design TRN-212 Auto Design 3: Interior Design TRN-213 Auto Design 3: Vehicle Technology TRN-215 Visual Fundamentals 3 TRN-249 3rd Term Review TRN-307 Vehicle Architecture
3 3 2 2 2 3 0 3
TERM 4 HMN-202 Human Factors & Design Psychology 3 TRN-270 Auto Design 4: Exterior Design 2 TRN-271 Auto Design 4: Interior Design 2 TRN-273 Auto Design 4: Vehicle Technology 2 TRN-320 3D Physical 4 2 TRN-321 3D Digital 4 3 TRN-310 Viscom Fundamentals 4 3
FORD START CONCEPT EXTERIOR SKETCHES
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TERM 1 HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3 INT-112 Design Fundamentals 1 3 IDF-111 Design Process 1 3 IDF-102 Viscom Fundamentals 1 3 IDF-113 Study Models 2 IDF-103 3D Fundamentals 1 3 IDF-114 Way Things Work 2
Jeff Nield manages strategic design vision and futuring at Ford Motor Company in Irvine, California. Previously at Ford, he was a designer based in Dearborn, Michigan, and then a senior designer in Irvine.
TERM 5 MAT-200 Automotive 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-341 Transportation Design 6 3 PRP-350 The Design Professional 3 TRN-340 Insights: Trends & Materials 3 TERM 7 TRN-406 Auto Product Planning 3 TRN-402 Visual Communication 7 3 TRN-413 Transportation Design 7 3 TRN-449 7th Term Review 0 TERM 8 TRN-466 Trans Design 8: Interior 3 TRN-467 Trans Design 8: Exterior 3 ADDITIONAL REQUIREMENTS Studio Electives Humanities & Sciences Electives: Human Culture Material Environment Professional Practice Total Required Units
6 3 3 9 6
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Counseling and Visiting We would like to start working with you early on in your application process. Visit us!
THE MAIN BUILDING ON ART CENTER’S HILLSIDE CAMPUS, DESIGNED BY CRAIG ELLWOOD AND ASSOCIATES, HAS BEEN DESIGNATED A LOCAL HISTORICAL LANDMARK.
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Art Center welcomes applications from students who are committed to pursuing a career in the visual arts and design. Our programs are specialized, so applicants must carefully consider their choice of major before applying. Your classmates will be serious and talented. Art Center is committed to bringing together a diverse and motivated group of students to work with our exceptional faculty — who together create your classroom experience. The choice of a college will affect your life and your career in significant ways. We hope you will visit us, spend time on our campus, view our student work and become familiar with the accomplishments of our alumni and faculty. Our Admissions counselors will guide you through the application process, answer your questions and serve as your Admissions mentors. Applications are evaluated by a committee. They will base admission on a strong portfolio, sound academic record in high school or college, and your application essays and other application responses. The acceptance process is independent of your intent to apply for financial aid.
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. Contact Call 626-396-2373 for a counseling or tour appointment, or to speak with a counselor if you are unable to visit in person.
Application Requirements Requirements are subject to change, and we recommend consulting the Art Center website for any updates on this printed information.
Follow these steps to complete your application. All materials should be sent to: Admissions Office, Art Center College of Design, 1700 Lida Street, Pasadena, CA 91103. 1 Complete the application for admission online or download it from our website, artcenter.edu. 2 Complete all required essays described on the application. 3 Submit the nonrefundable application fee. The fee is $50 for U.S. citizens and permanent alien residents, or $70 for students requiring an F-1 student visa. Fee waiver requests can be submitted from the College Board or requested by a guidance counselor or financial aid officer. 4 Submit your official high school and college transcripts. _ Request that your transcripts be sent directly from your high school and/or colleges to the Admissions Office. Once submitted, all documents become the property of the College and cannot be returned to the applicant. _ High school transcripts or a General Equivalency Diploma (G.E.D.) must be submitted by all students except those holding a prior bachelor’s degree. These should be final transcripts for those who have completed high school, and pending transcripts for those still enrolled. Students must have completed or anticipate completing high school or a G.E.D. prior to their enrollment. Home-schooled students should submit transcripts that include course titles, grades, credits, and signature of the home-school administrator. _ College transcripts should be requested from each individual college attended. _ 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. _ Non-degree programs: If you have attended a non-degree school program or tutorial, list it on your application. 5 Submit official copies of SAT or ACT scores if currently enrolled in high school.
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Undergraduate Admissions
_ TOEFL: a minimum score of 80 is required, and each section of the score will be evaluated for proficiency. IELTS: a minimum score of 6.5 is required. We are not registered for electronic download of IELTS scores and an institution code is not required. Scores must come directly from the testing services and must have been taken within two years prior to the time of application. We do not accept institutional versions of either test. Visit www.TOEFL.org or www.ielts.org for registration and testing information. 7 Submit a portfolio of your work. _ Refer to the Portfolio Requirement section for details on the specific requirements for your chosen major. General portfolios are not acceptable.
Portfolio Requirements Meet with an Admissions counselor for advice on preparing 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.
Public Programs In the event an Admissions counselor feels your portfolio is not quite ready for consideration to a degree program, Art Center’s Public Programs provides an excellent avenue to develop it further. Through Saturday High (for students in grades 9 –12) or Art Center at Night (our part-time continuing studies program), prospective students can strengthen or refine their body of work, in some cases earning transferable course credit. For more information about Public Programs, visit artcenter.edu/publicprograms.
Portfolio Requirements by Major Advertising Advertising majors should demonstrate innovative thinking with words and images to promote products or ideas through ads. Work should demonstrate a fresh, original way of looking at things, possibly incorporating humor or other means by which the 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-wouldhave-thought-of-that ads. The quality of your thinking is more important than the finish. If you have previous experience in advertising, submit 8–10 print advertising concepts. These should demonstrate your facility with both copy (words) and visuals. Include preliminary sketches demonstrating your idea-generation process. If you’ve worked in video or other media, include those as well. If you have no previous experience in advertising, submit at least five pieces that demonstrate your ability to represent your ideas visually. In addition, we’ve created some assignments to help you demonstrate your potential for advertising. Select three or four assignments from suggestions below or submit assignments of your own devising. Create these through drawings, photography, photo-collage, digital images or any combination of these. _ Select one or more existing print ads and recreate them. Make them better. _ Create a print campaign that sells you to Art Center. _ Design a campaign to teach teens the importance of staying in school. _ Go to a hardware store and pick up 10 paint color chips. Cross out the names and rename the colors. All the names must relate to sleep.
Entertainment Design The task of a concept designer for the entertainment industry is to provide diverse variations of characters, environments, vehicles and props for stories taking place in the past, present or future. Your portfolio should include examples of your original design ideas created for a story of your invention or an existing story. These should be well communicated through drawings and
renderings. Examples in all four of the major subject topics — environments, characters, vehicles and props — should be included in your portfolio. Include both early concept design sketches and more finished renderings to demonstrate your thinking process. Be sure to focus on imagery that shows the entire physical world you are portraying, not just the characters. Emphasize well-drawn original design variations more than highly finished color renderings. 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 application and fulfill 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 Design Submit a minimum of three spatially or 3Doriented projects that show solutions to a specific spatial design challenge. These should include drawings and sketches along with photographs of models that demonstrate an understanding of 3D space, technical skills and design sensibility. Examples of work may include interior design, furniture design, lighting design, set design and architectural design projects. Limited examples of drafting or technical drawing are acceptable, but must be accompanied by 3D representations. Creative design concepts are as important as drawing and model-making skills. A descriptive paragraph explaining the design concept and solution should be included with each project submitted.
Film Submit completed film or video projects of at least five but no longer than 20 minutes total running time. The filmed work should tell a story or present a point of view, rather than simply record a situation. The work should demonstrate concern for visual composition, staging, editing, sound and competent post-production. Submitted work may be a documentary, drama, comedy or several 30- to 60-second commercial spots or music videos. Still photographs, prints and artwork are helpful additions, but do not replace the required film work. If the work is collaborative, indicate your role on each production.
Portfolio work should be submitted via Vimeo. Students should send a Vimeo link to filmportfolio@artcenter.edu with their full name and address included. Only if Vimeo access is unavailable should an NTSC DVD be substituted for submission.
Fine Art Include a representative selection of your work in any media. In addition to submitting examples of foundation skills, also present personal work that reveals experimentation and imagination. Work can include all forms of drawing, representational and nonobjective painting, sculpture, printmaking, photography, film, video and installation documentation. Conceptual work and artist’s statements are also welcome. You can include 10–15 pages from your sketchbook as one PDF. Applicants seeking to major in Fine Art with a focus on Photography and Imaging should also submit at least eight photographs. Students seeking the Illustration minor should submit 10–15 figure drawings from the live model.
Graphic Design Include layouts or comprehensives for graphic design projects, such as posters, brochures, editorial design, package design, motion graphics, web design and identity systems. Pieces that exhibit communication of an issue, an individual point of view, or a unique approach to a problem are valuable. Provide process work that shows the development and variation of your ideas. Evidence of an understanding of and passion for typography is a must. Submit at least 8–10 pieces or projects. Samples of logotypes, lettering, life drawing and general color and design assignments should be included. If submitted work has been produced, attach an explanation of the role you played in the creation of the work. Motion work should be submitted as storyboards as well as on CD QuickTime files that are optimized at 200 MB or less and are Mac-compatible.
Illustration Submit 10 –15 original figure drawings from the live model that include both gestural and more developed pieces. These should demonstrate proportion and an understanding of light, shadow and line. Other observational drawings or paintings from life such as sketches of people, self-portraits, animals and scenes from nature and cityscapes should be included.
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6 Submit TOEFL (Test of English as Foreign Language) or IELTS (English Language Testing System) 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) or IELTS Students who have taken ESL classes in high school may be asked to submit a TOEFL or IELTS The Admissions Committee may request a test result from any student whose command of English is in doubt based on interview, writing ability or prior grades or test scores.
Interaction Design Submissions should demonstrate a keen interest in user experience, along with your personal creativity and vision. Candidates should provide examples of interactive work that you have made or in which you were involved. Work can be screen-based or physical. (Examples may include: mobile or social applications, websites, gestural interfaces, games, consumer electronics, smart products, art, tangible or environmental projects.) Include a statement about your role in the design and production and any URLs, working versions, videos, or multiple images of your interactive projects that show how they work. Submit process work showing how you develop and visualize concepts. Include relevant sketches, prototypes, wireframes, research, and comps. Emphasis in process work should be placed on innovative interactivity, user-centered design, familiarity with technology and conceptual thinking on and off the screen. Each project should be grouped as a single PDF. Sketchbook examples should be scanned and included as a separate PDF. If you include working interactive projects, be sure they work on both Mac and PC. Feel free to include one or more examples of design work from a related field of interest such as graphic design, industrial or environmental design. Include any other work such as drawing and painting, video, or photography that will help us understand your personal interests and direction. Important Equipment Note for Interaction Design Students: Students will be required to own or purchase a Laptop and specific software to use during their career at Art Center. The suggested equipment is a minimum of a 15" MacBook Pro; 2.0GHz quad-core Intel Core i7; 8 gig RAM. Suggested software minimum is OS X 10.7 (Lion); iWork—word processing, spreadsheet, presentation; Adobe CS5.5 Master Collection.
Photography and Imaging Submit a minimum of 25 black-and-white, color or digital images. Do not submit blackand-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 also be included. If prints are submitted they should be at least 8" x 10" and no larger than 16" x 20."
Product Design Submit sketches and finished drawings of three or more original product design projects (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. Provide examples of the research and any sources of inspiration. Developmental sketches are required and should show a variety of solutions and decision-making, emphasizing innovative concepts or features of your ideas. Inclusion of photos of models is optional. Include sketchbooks with additional product thinking and ideas; these can be scanned and grouped on a PDF.
Transportation Design Portfolio submissions should demonstrate a passion for and curiosity about the future of transportation, including cars, trucks, public transportation, boats, motorcycles or alternative mobility. Submit four to five complete projects that show your original transportation design concepts through a series of sketches. These should represent a variety of types of vehicles. Inclusion of designs for non-vehicular products is encouraged. Drawing (nondigital) should be the primary means for communication of ideas. Submit ideas in project format: title and goal of project, research, audience, preliminary and final sketches. Developmental sketches are the key elements and should be the focus of each project. Inclusion of informal sketches (loose or in notebook form) that show idea development is highly recommended, and these can be scanned and grouped on a
PDF. Group each project as a separate PDF if using Slideroom.
Undergraduate Dates and Deadlines
Submitting your Portfolio
Art Center reviews and accepts undergraduate applications on an ongoing or rolling basis for most undergraduate majors until a department is full for any given term. There are no specific admissions deadlines but scholarship applicants may want to meet the priority dates. You can apply to enter for the Fall, Spring or Summer term for most majors, with the exception of Advertising, Entertainment Design, Fine Art and Interaction Design, which accept applications for the Fall and Spring terms only. Entertainment Design has a deadline of February 1 for Fall and October 1 for the Spring term. Students can be considered for scholarship and financial aid at most times during the admissions cycle, but priority scholarship dates by which to submit the application materials and Free Application for Student Aid (FAFSA) are:
We currently provide for the following methods by which you can submit your portfolio. Read the details on each format, and choose only one. Do not submit work via multiple formats. 1 S lideroom (Web-based). Our preferred method for submission is through Slideroom. Upload your portfolio images at https://artcenter.slideroom.com. Slideroom will charge a nominal fee for this service. Full instructions are listed on the site. For general artwork, we recommend scanned images rather than photos for best resolution. 2 N on-returnable printed portfolio. Size limit is 11" x 17" maximum, including the envelope or covering. This can include a presentation format or simply individual samples of the work. This format works well for the design disciplines in which presentation or project formats are appropriate. Copies of sketchbook can be included in this format along with the portfolio. Work will not be returned. Mail to: Admissions Office, Art Center College of Design, 1700 Lida St., Pasadena, CA 91103. 3 Vimeo for Film applicants. Film applicants must provide a link to Vimeo via an email to filmportfolio@artcenter.edu. Include your full name and address. 4 D rop off original work. You can submit a portfolio of original work by dropping it off and picking it up at the Admissions Office. Weight limit is 25 lbs; 34" x 24" maximum dimensions. This must be brought to the Admissions Office at Art Center during business hours, 8:30 am – 4:30 pm Monday through Friday or can be mailed. Portfolios must be picked up in person immediately after notification that they have been reviewed/released or they will be disposed of 30 days after notification. No portfolios will be mailed back.
Spring term: October 1 Summer term: January 15 Fall term: February 15 If room is unavailable in the term for which you are applying, the Admissions Committee will consider your application for the next consecutive available term.
Notifications, Tuition Deposit and Deferrals Application Notifications Applicants will be notified of the Admissions Committee’s decision in writing as soon as possible after receipt of all application materials, usually within three weeks. Art Center reserves the right to rescind an offer of admission at its discretion and if any information contained in the application is found to be incomplete, inaccurate or misleading or if additional information leads to serious concerns. A health form including tuberculosis test requirement will be mailed on acceptance and must be returned to the Admissions Office before orientation. Upon being admitted to the College, any person with a disability who might require special accommodation should discuss his or her needs with the Center for Student Experience staff. Students can request a copy of Art Center’s student handbook, which contains additional policy information. A copy will be provided to all students at orientation.
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Also submit five or more imaginative drawings or paintings that demonstrate a story or communicate an idea. These illustrations should include use of color and composition. Entertainment-related pieces such as character development can also be included. Sketchbooks that demonstrate your observations and thought process are recommended.
Upon acceptance, an enrollment agreement form and further instructions will be issued. The completed agreement, along with a $200 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 is not 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 if they have been accepted but no space is currently available.
Deferrals Accepted applicants can defer their admission for one consecutive term following their acceptance (provided there is room). The $200 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.
Readmission Students who have been absent from Art Center without a leave of absence are subject to readmission procedures. Please contact the Admissions Office at 626-396-2373 for further information.
Your Choice of Major You will choose a major at the time you apply to Art Center. We offer 11 undergraduate programs and each curriculum is distinct. It is important that you read about the majors carefully and review the portfolio requirements for that major. Art Center does not offer a foundation (undeclared major) program. 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 Interaction Design Product Design Transportation Design
We encourage students to spend time exploring their choice of major prior to applying to Art Center. This will be an important commitment; while it is possible to change majors, it is not guaranteed, and can result in starting over in the new major. All degree requirements, including your studio art and Humanities and Sciences classes, are offered at Art Center. You can take the entire program here, or transfer in credits prior to entry.
Integrated Studies Classes in the Integrated Studies Department cover material common to most disciplines, such as basic visual vocabulary, craftsmanship and technical skills, and questions of ethics. Students from multiple majors study together in these classes, which are automatically included in your Department’s curriculum. In addition to providing a thorough grounding in essential subject matter, Integrated Studies cultivates the transdisciplinary culture that uniquely distinguishes education at Art Center.
Humanities and Sciences All Art Center students take classes in the Humanities and Sciences (H&S) Department, covering academic subjects often referred to as liberal arts and sciences. H&S classes work in conjunction with the studio programs to foster thoughtful and rigorous inquiry across the College, traversing cultural, historical, literary, philosophical and scientific perspectives. In this way, we ensure that you receive a complete education, and that upon graduating you have the knowledge required to map an informed individual path.
Your Program of Study Most students will enroll in a program that takes a minimum of eight 15-week terms, or semesters. 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 Sciences classes.
Transfer Students Students who have completed studio coursework at another college that parallels the major coursework at Art Center may receive advanced standing. Advanced standing is dependent on the level and content of the portfolio and prior college experience. Studio transfer credit is based on portfolio review at the time of admission as well as evaluation of prior college transcripts. Humanities and Sciences (liberal arts) transfer credit is awarded based on Art Center’s requirements and comparable credits taken at another college. Awarding of studio credit, not Humanities and Sciences credits, determines the length of the program. Refer to the section on “Transfer Credit” at the Art Center website.
International Students Art Center welcomes international students and the cultural diversity they bring to our campus. Art Center courses are conducted in English, and undergraduate applicants with a native language other than English must score at least 80 on the Internet-based TOEFL (iBT) or a 6.5 on the IELTS Details are included in the Admissions Requirements Section. For more information about programs and services for international students, please visit our website.
Veterans Art Center is approved for veterans’ study under several GI bills, including the Yellow Ribbons program. Veterans should contact the Financial Aid Office at 626-396-2278 for information.
Special Non-Degree Student Status Art Center occasionally admits students to its Special Status program. The program is intended for students who have had significant work and educational experience. These students are allowed to attend Art Center classes for up to three terms on a nondegree basis. The Special Status program is available at both the undergraduate and graduate level, and for students with or without a prior college degree. Special Status students pay the current full-time tuition rate. To qualify, students must show an advanced level portfolio for one major. They must meet the same admissions requirements as degree program candidates, complete the admissions procedure for undergraduate or graduate students, as applicable, and
check off “Special Student Status” on the application form. Students cannot 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. Special Status students are generally not eligible for financial aid or scholarships. However, the College has a special scholarship fund for students from Europe that was provided by a donor interested in encouraging geographic diversity. There is no separate application process; admitted students will automatically be considered for these moderate scholarship awards.
Transfer Credit A maximum of 60 units of studio and academic credits may be transferred from another accredited institution. Art Center recognizes two types of transfer credit: credit for studio art classes, and credit for Humanities and Sciences (liberal arts) classes. Receipt of studio transfer credit, not Humanities and Sciences credit, determines the length of a student’s program at Art Center. Advanced standing is awarded only if the student receives studio art credit. Transfer credit will be accepted from colleges or universities that are accredited by one of the six regional associations of schools and colleges—Middle States (MASAC), New England (NEASC), North Central (NCASC), Northwest (NWCCU), Southern (SASAC), Western (WASC)— or by the National Association of Schools of Art and Design (NASAD). International programs will be evaluated on an individual basis. Advanced Placement (AP) credit is awarded only for Humanities and Sciences classes based on an official score of 4 or 5 from Educational Testing Services (ETS). Art Center does not offer studio art credit for AP classes or CLEP. Up to 12 credits may be offered based on professional work experience. All studio and Humanities and Sciences transfer credit must be finalized by the end of a student’s first term at Art Center. 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.
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Studio art credit is awarded based on a combination of portfolio work and prior college credit. Portfolios are evaluated for studio credit at the time of admission. In addition to credit for prior college work, students may also be granted a maximum of 12 credits based on professional work experience. A transfer student’s program will be shortened only if one or more terms of studio transfer credit is awarded. The number of Humanities and Sciences credits transferred does not affect the length of the program but will lighten the course load. Studio courses taken through Art Center at Night, Art Center’s non-degree continuing education program, are considered for transfer if the course is listed as transferable at the time of entry, is applicable to the major and if a grade of “B” or better is achieved.
Humanities and Sciences Credit While specific required Humanities and Sciences courses within your major must generally be taken through the Art Center degree program, a number of elective units may be fulfilled through transfer credit. These vary by major. Art Center requires a specific distribution of Humanities and Sciences courses for graduation. Credits accepted for transfer must fall into these categories: Human, Culture, Materials/ Environment and Professional Practice. Visit the Art Center website for details on specific classes that will transfer. Credit is transferable for Humanities and Sciences courses taken at another accredited college in which a grade of “C” or better for electives and “B” or better for required courses has been achieved. For a detailed description of eligible transfer credit by category, visit the Admissions section of the Art Center website.
Arrival and Housing We hope that you will call on the Admissions staff to help with questions or needs related to your arrival. We recommend that you arrive at least two weeks before classes if you are moving to Pasadena from within the U.S. If you are an international student, we recommend you arrive three to four weeks before the beginning of the term to find housing, get a driver’s license, and get accustomed to Pasadena. While Art Center does not offer oncampus housing, the Center for the Student Experience coordinates information regarding
local housing and roommate options on a housing website. This resource lists a variety of living arrangements including rooms within homes, guesthouses, 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 Scheduling New students attend a mandatory orientation program held the week before the first day of the term. The orientation schedule will be sent the month prior to the start term to students who have submitted their tuition deposit. Students will prepare for their Art Center experience by receiving valuable information on campus life, academic expectations and policies; 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.
Your Creative Community Art Center attracts students from across the country and around the world, producing a diverse community of creative and cultural influences. This community is fostered by an array of social and support groups, and an active student government. From the moment you arrive on campus — and even before — the Department of Student Affairs provides programs and services to help you get the most out of your Art Center experience. We tailor our services and programs to your needs, whether you’re an international student or a Southern California native. You’ll meet our staff as we coordinate new student orientation, and can turn to us for support and assistance throughout — and beyond — your time here. Art Center’s Center for the Student Experience (CSE) provides services and advice with the goal of helping students get the most from their education, both inside and outside of the classroom. It offers programs designed to enhance students’ physical and emotional wellbeing, build a sense of community and create opportunities for fun. CSE is located directly across from the Library on the Hillside Campus and holds office hours in Room 200 at South Campus.
Tuition and Fees Tuition Art Center’s 2012–13 undergraduate tuition is $17,526 per term; 2012–13 graduate tuition is $18,522 per term. Each term’s tuition covers a full-time program (12–19 units). Tuition is due the Friday of the first week of classes. You can pay by check, credit card or cash. If you choose not to pay the full amount of your tuition during that first week of classes, you will be charged a $75 nonrefundable installment charge and can submit your tuition in three installments.
Universal Access Fee A $250 fee is charged each semester to all students for access to Art Center labs and shops. Fees are subject to change and are refundable on the same schedule as tuition.
Living Expenses and Supplies Art Center does not currently offer dormitories, and living costs vary greatly based on the type of housing the student chooses. However, we estimate a generous average amount for rent and food per term to be $6,700 for students not living at home. Students should allow an average of $1,800 for personal expenses, $1,400 for transportation, and $2,000 for supplies each term. The supply amount is variable by major and individual projects. At the start of each term, individual instructors provide students lists of necessary supplies.
Art Center Student Health Insurance All enrolled Art Center students are automatically covered by a student health insurance policy upon registration. This is a free benefit and service to students with no additional charge.
Financial Aid We encourage all students who need financial assistance to apply for aid. Applying for financial aid in no way affects your admissions decision.
Application Procedure 1 A financial aid brochure that outlines the various financial aid opportunities can be obtained by calling the Admissions Office at 626-396-2373 or by visiting artcenter.edu for full information on financial aid.
2 U.S. students must start the application process for all types of aid, including scholarships, by completing the Free Application for Student Aid (FAFSA) at fafsa.ed.gov. No aid, including scholarships, can be offered to U.S. students without the FAFSA. 3 I nternational students do not need to file any financial aid forms. They are eligible to apply for scholarships by submitting their application materials by the priority scholarship deadlines listed here.
Financial Aid and Scholarships Financial Aid for U.S. Students 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. The Cal Grant, for students who attended high school in California, has a FAFSA and grade point verification deadline of March 2. By submitting your FAFSA, the Financial Aid Office can consider your eligibility for programs such as the federal Pell Grant, Federal Work Study, Federal Stafford Loans and Art Center scholarships. The Financial Aid office will notify you of your aid after your acceptance. Scholarships for U.S. and International Students Art Center’s own scholarships are limited in number and are awarded to students who demonstrate financial need and show exceptional potential in their portfolio and academic record. We do not offer merit-only scholarships. We suggest that applicants for entering scholarships submit their application for admission, transcripts, test scores, portfolio and FAFSA (U.S. students only) by the dates listed below for priority consideration. International students submit admissions materials only. Scholarships for Students from Europe The College has a special scholarship fund for students from Europe that was provided by a donor interested in encouraging geographic diversity. There is no separate application process; admitted students will automatically be considered for these moderate scholarship awards.
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Notification of Scholarship Awards Accepted applicants who meet the priority dates will be notified by: Summer term: March 1 Fall term: April 1 Spring term: November 15 If you miss these priority dates, scholarship funds may still be granted on an as-available basis, and other forms of aid, such as Federal Stafford Loans and Federal Pell Grants, may be available as well. Applicants will be notified of scholarship awards on a rolling basis at the time of admission. For assistance in applying for financial aid, contact the Financial Aid Office at 626-396-2215.
Academic Information Terms/Semester System Art Center offers three full terms (semesters) each year: Fall, Spring and Summer. Each term is 15 weeks long.
Course Load Degree programs are full time only, requiring a course load of between 12 and 19 units per term. Permission must be obtained to drop below 12 units or for course load to exceed 19 units. However, students can enroll in a part-time term, called Art Center Lite, two times during their course of study. Entering students cannot start their studies with an Art Center Lite term. Graduation from Art Center is based upon successful completion of the 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.
Schedules Class schedules are arranged so that many subjects are taught in blocks once a week on a full-day basis. Many studio classes meet from 9 am to 4 pm. Other classes are from 8 am to 1 pm and from 2 to 7 pm. Some classes are scheduled in the evening and on Saturdays. Humanities and 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 Major Once enrolled, a student can apply for a change of major through a portfolio review process. Changes of major are not automatic, and students who change majors must meet all the requirements for their new major. This may entail additional terms of study.
Awarding of Degrees To graduate, an undergraduate student must have completed all required course work and attained a cumulative Grade Point Average of at least 2.50. Graduate students must complete all course work with a minimum cumulative Grade Point Average of 3.00 and a thesis.
Graduation Rates The Student Right-to-Know Act mandates that all institutions disclose their graduation rates. In 2011, the graduation rate for first-time undergraduate students who entered in the fall of 2005 was 54.4 percent. This information does not include transfer, exchange or special-certificate students. The graduation rate for all entering students for this same period was 70 percent. For further information, call Enrollment Services at 626-396-2316.
Other Policies Family Education Rights and Privacy Act (FERPA) Art Center complies with the Family Education Rights and Privacy Act (FERPA) and its accompanying regulations, which afford students certain rights with respect to their education records. To view the complete FERPA policy, please visit our website at artcenter.edu.
Nondiscrimination Policy Art Center has a long-standing commitment to promoting equal opportunities, and will not engage in any unlawful discrimination based on race, color, sex, gender identity, gender expression, religion, age, national origin, ancestry, sexual orientation, marital status, medical condition, physical or mental disability, military or veteran status, genetic information, or any other basis prohibited by law.
Disability Policy Art Center College of Design complies with the Americans with Disabilities Act, Section 504 of the Rehabilitation Act, and state and
local requirements regarding students and applicants with disabilities. Under these laws, no otherwise qualified individual with a disability shall be denied access to or participation in the services, programs and activities of the College. For further information about how Art Center is able to accommodate students with disabilities, please visit our website at artcenter.edu.
Clery Act and Student Right-toKnow Act Art Center complies with the Jeanne Clery Disclosure of Campus Security Policy and Campus Crime Statistics Act (“Clery Act”), as well as with the Student Right-to-Know and Campus Security Act, along with the accompanying regulations. Information on compliance is available from the Director of Environmental Health and Safety.
Changes to Policies, Procedures and Fees Art Center reserves the right to change or modify tuition, fees, the calendar, or discontinue or modify course offerings, majors, graduation requirements, rules, policies and procedures as it deems necessary or appropriate. Students will be provided with notice of these changes whenever possible through means such as the College website, posted notices or the Student Handbook. No exceptions may be made to any of the academic or academic-related policies. No representation by any College employee to the contrary may be considered authorized or binding. For a comprehensive and updated look at academic information, visit artcenter.edu.
Facilities and Resources Art Center’s two Pasadena campuses provide learning environments that inspire creativity and have a meaningful impact on their surrounding community. Our Hillside Campus, located on 175 acres in the San Rafael Hills of Pasadena, is home to the College’s undergraduate programs, Graduate Industrial Design and Graduate Broadcast Cinema programs, administrative 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. Both campuses provide students with an array of facilities, resources and creative learning opportunities. Exhibition spaces, art and printmaking studios, a Color, Materials and Trends Exploration Lab, 3D prototyping and fabrication shops, photo and film stages, a comprehensive library and many other resources support and enhance the Art Center learning experience. For complete and detailed descriptions of all our facilities and special resources, please visit artcenter.edu.
Career Development Art Center is committed to helping our students launch their careers as artists and designers, as well as to aiding in the advancement of our alumni. The Office of Career Development offers resources and services to help facilitate meaningful connections with the professional environment. They include Career Strategies Workshops, the DOT Exchange mentorship program and our dotJOBS website, an online job posting service available exclusively to graduating students and alumni. The Office also identifies and develops paid internships for students, and hosts on-campus recruitment events. Students received 179 internships in 2011. Because of Art Center’s reputation and success in nurturing outstanding creative talent, industry is eager to meet our graduating students. Each term, Art Center invites studios, galleries, design firms and companies to visit and interview students on campus. Companies and organizations participating in this On-Campus Recruitment Program span all the creative disciplines, and it is always a substantial and impressive roster—ranging from industry leaders to boutique shops to start-ups. In 2011, 183 companies visited Art Center to recruit graduates for employment. For a complete list of recent participants in On-Campus Recruitment, please visit artcenter.edu.
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Priority Scholarship Dates Summer term: January 15 Fall term: February 15 Spring term: October 1
2013
Fall Term
Year founded
Students who receive financial aid
Tuesday, September 4 – Friday, September 7: Orientation for Fall term Saturday, September 8: Fall classes begin Monday, November 12: Veterans Day holiday (observed) Thursday, November 22 – Sunday, November 25: Thanksgiving holiday Saturday, December 15: Classes end Saturday, December 15: Graduation Vacation: December 16 – January 12
1930
72% (Art Center administers more than $9.2 million in scholarships per year.)
Spring Term Tuesday, January 8 – Friday, January 11: Orientation for Spring term Saturday, January 12: Spring classes begin Monday, January 21: Martin Luther King, Jr. holiday Saturday, April 20: Classes end Saturday, April 20: Graduation Vacation: April 21 – May 11
Summer Term Tuesday, May 7 – Friday, May 10: Orientation for Summer term Saturday, May 11: Classes begin Monday, May 27: Memorial Day holiday Thursday, July 4: Independence Day holiday Saturday, August 17: Classes end Saturday, August 17: Graduation Vacation: August 18 – September 7
Fall Term Tuesday, September 3 – Friday, September 6: Orientation for Fall term Saturday, September 7: Classes begin Monday, November 11: Veterans Day holiday Thursday, November 28 – Sunday, December 1: Thanksgiving holiday Saturday, December 14: Classes end Saturday, December 14: Graduation Vacation: December 15 – January 11
2014
Spring Term Tuesday, January 7 – Friday, January 10: Orientation for Spring term Saturday, January 11: Classes begin Monday, January 20: Martin Luther King, Jr. holiday Saturday, April 19: Classes end Saturday, April 19: Graduation Vacation: April 20 – May 10
Affiliation Private, nonprofit institution
Average student / faculty ratio
Accreditations
9 to 1
Western Association of Schools and Colleges; National Association of Schools of Art and Design
Number of faculty
Applications accepted Spring, Summer and Fall for most majors
Terms (semesters) Three 15-week terms per year
Fall 2011 Undergraduate enrollment 1,650 (53% men, 47% women)
Fall 2011 Graduate enrollment 192 (63% men, 37% women)
93 full-time, 279 part-time
2011 Undergraduate enrollment by program Advertising: 77 Entertainment Design: 98 Environmental Design: 83 Film: 85 Fine Art: 83 Graphic Design: 259 Illustration: 474 Photography and Imaging: 154 Product Design: 136 Transportation Design: 192
Students who complete their degrees within six years
Average age of entering Undergraduate students
70%
Fall entry: 20.9 years old All entry terms: 22.5 years old
Average job-placement rate one year after graduation 91%*
Average age of all Undergraduate students 23.6 years old
Students from other countries 22% (representing 36 countries)
*Based on alumni-survey responses of 53%.
2011 Graduate enrollment by program Art: 34 Broadcast Cinema: 64 Industrial Design: 46 Media Design: 44
Students from other states 26%
Summer Term Tuesday, May 6 – Friday, May 9: Orientation for Summer term Saturday, May 10: Classes begin Monday, May 26: Memorial Day holiday Friday, July 4: Independence Day holiday Saturday, August 16: Classes end Saturday, August 16: Graduation Vacation: August 17 – September 6
Art Center College of Design™ is accredited by the Western Association of Schools and Colleges (WASC), and by the National Association of Schools of Art and Design (NASAD). Access to Art Center’s accreditation report is available through the Office of Academic Affairs.
WASC 985 Atlantic Avenue, Suite 100, Alameda, CA 94501 510-748-9001 NASAD 11250 Roger Bacon Drive, Suite 21, Reston VA 20190-5248 703-437-0700
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General requirements for all majors:
Applications for admission to Graduate programs are submitted to the Admissions Office. The faculty and Chair of the specific graduate program make the evaluation and final admissions decision regarding each candidate. Graduate programs vary from four to six semesters depending upon the program and the option to which you are accepted. The acceptance process is independent of your request for financial aid.
2 A nonrefundable application fee. The fee is $50 for U.S. citizens and permanent aliens or $70 for students requiring an F-1 visa.
Programs of Study Master of Fine Arts (M.F.A.) Art Broadcast Cinema (Film) Media Design Master of Science (M.S.) Environmental Design Industrial Design Transportation Design
Non-Degree Programs Art Center accepts a limited number of non-degree students who have significant educational and work experience within one of our majors. These programs are usually two-to-three semesters in length and offer an in-depth experience for students in a limited time range. All application procedures and requirements, as well as tuition, are as outlined for the degree programs. Financial aid is not available, with the exception of scholarship funding for students from Europe, which may be offered at the time of admission.
Counseling and Visiting Graduate students should call Admissions at 626-396-2373 to arrange a visit directly with the department to which you are applying. The Art and Media Design Practices programs are housed at South Campus.
Graduate Application and Portfolio Requirements The following materials constitute a complete application. No application will be reviewed until all of these materials have been received.
1 A completed admission application. Download or complete online at applyweb.com/apply/accd.
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 or IELTS score of 7 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) or 7 on the IELTS to be considered for admission. We are not registered for electronic download of IELTS scores. We do not accept institutional versions of either test. Visit www.TOEFL.org or www.ielts.org for registration and testing information. 5 M ajor-specific requirements. Please refer to the text below for additional requirements by program. 6 Review the section on submitting your portfolio for methods of submission.
Art Graduate Art applicants can apply for the Fall or Spring terms with priority dates of February 1 or October 1, respectively. Applications will continue to be reviewed if space is available. 1 Complete all general Graduate admissions requirements. 2 Submit your work. The MFA program in Art is open to candidates working in any medium. Candidates working with film, video, performance or sound should provide complete examples of each piece. This can be done via Vimeo link; send the link to admissions@artcenter.edu.
3 A letter of intent. A letter 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. 5 Optional: Letters of recommendation. These are encouraged, but not required.
Broadcast Cinema Broadcast Cinema applicants can apply for the Fall term only and are usually reviewed within one month after submission. The priority date for receipt of the application is February 1, including scholarship consideration, but applications will continue to be reviewed as space is available. 1 Complete all general Graduate admissions requirements. 2 Submit your work. Submit completed film or video projects of at least three minutes total running time but no longer then 20 minutes via DVD. 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. 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. 3 A graduate proposal. A graduate proposal 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.
Environmental Design Applications for Environmental Design are accepted for the Fall term only. Applications are due February 1 for priority consideration, including potential scholarship awards. Admissions decisions are made in the month of March. If space is available, reviews will continue and applications will be accepted beyond that time. Check with the Admissions Office for availability. There are two distinct programs of study within the Environmental Design department: Spatial Experience Design and Furniture & Fixtures Design. Spatial Experience Design This track addresses the relationships between the Individual, Materials, Space and Emotion. The program focus takes us beyond style to consider the links between the psychological, physical, emotional and sensorial effects of spatial design. Students will approach the design experience from the first moment of encounter to the last moment of interaction. In a sense, students will see themselves as the “conductor” of the experience. This approach will involve a transdisciplinary interaction with students from other creative disciplines, but in most cases the Environmental Design student generates the creative guidelines by which the total experience is explored. This program is for students who are interested in creating and elevating multiscale spatial designs with an industry focus and application. Students will often have a prior degree in Environmental Design, Architecture or Interior Architecture. A student should have a rich background in spatial investigation and be experienced in the exploration of spatial projects in both hand and digital skill sets. Furniture and Fixtures Design This track investigates the relationships between Space, Place, Function and Application of furniture and fixtures design. The program is focused on innovation, industry standards and an understanding of the manufacturing process for mass production furniture, case goods and fixture design. Furniture and fixtures are viewed as an integrated component of the spatial experience. The psychological, physical and emotional role of furniture in our living and working environments are explored. The design focus goes well beyond style to consider the links between the user, brand, function and the industry.
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1 Complete all general Graduate admissions requirements. 2 Submit your work. Submit a portfolio of work demonstrating your design abilities as described below. Spatial Experience Track Applicants: Students should have a rich background in spatial investigation and be experienced in the exploration of spatial projects in both hand and digital skill sets. Prospective students need to submit at least three completed spatial projects. These projects should be fully documented with indication of goals, research, hand sketch development, digital and hand model making. The conceptual design process should include variations on ideas as well as demonstration of the path that led to final solutions. Related artwork can be included if it informs the understanding of your background. F urniture & Fixtures Track Applicants: Students should have a background in furniture and fixture investigation and be experienced in the fabrication process in both hand and digital skill sets. Submit at least three completed full-size prototype furniture or fixture projects, including sketching, model making and documentation of the complete design development process. The latter should include variations on ideas as well as demonstration of the path that led to final solutions. Related artwork can be included if it informs the understanding of your background. 3 A written essay. Provide a written statement that delineates your motivation for pursuing a graduate program, and your reasons for the choice of track. This should include topics and areas of interest as well as specific goals to be undertaken in the program. You should also describe specific skills and competencies you want to achieve. The statement should also include your goals beyond completion of the program and describe how a design education will relate to your career objectives.
4 Your résumé.
chairs, desk sets, communication systems, cars and housewares.
Industrial Design The Industrial Design program is looking for bright, articulate, literate and social individuals. Our student body typically includes a majority of students with Industrial Design undergraduate degrees and various levels of professional experience in that arena. Professional experience resulting in markettested designs is preferred. Candidates with a wide variety of undergraduate degrees and professional experience are also considered. Diversity and breadth of background play an important role in defining the transdisciplinary culture of the program. Applications for Industrial Design are accepted for the Fall term only. Applications are due February 1 for priority consideration, including potential scholarship awards. Decisions are made in the month of March. If space is available, an additional review of applications will take place. Check with Admissions. 1 Complete all general Graduate admissions requirements. 2 Submit your portfolio. Submit work that demonstrates your design abilities. Include 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: _ The ability to make appropriate and humancentered designs and take a systems approach to design solutions. Demonstrate context, business, technological and human-related aspects. The ability to write and communicate effectively; to display an understanding of and experience with 3D form and design; effective drawing and other visualization abilities. _ Demonstration of a great aesthetic design sensibility and ability — for style, proportion, shape, material, color, etc.; the ability to select important projects and identify real needs; the ability to research, investigate and analyze design topics and to experiment, think laterally and engage in creative idea generation activities. _ The ability to provide solutions for real needs and problems and create value for the human condition; to satisfy an aesthetic appetite for the creation of new market-driven style and products such as
3 Two written essays, as follows: a A letter of intent of not more than 1,000 words focused on your 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 you would (hypothetically) propose to work on if given an open budget of $10 million and two years to work on a project of your choice.
4 Your résumé. 5 Letters of recommendation. Provide one to three letters of recommendation from academic and professional references.
Media Design Practices Media Design Practices (MDP) seeks individuals who want to use design to understand and change the world. We are looking for risk-takers with varied interests who pursue design and critical inquiry with depth, intelligence, empathy, and passion. Applicants must have earned, or be in the process of completing a bachelor’s degree. MDP offers two tracks: Lab and Field. For either track, students can apply for either a 2-year or 3-year course of study. _ In the Lab track, students work in a studio context, using design to pose questions through applied and speculative projects that engage with emerging communication technologies and cultural practices. _ In the Field track, students work in a realworld context where social justice, public policy, media infrastructure and communications technology intersect. The track is run in collaboration with Designmatters, Art Center’s social impact department. For the 2-year applicants, we look for designers 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 3-year applicants, we accept both accomplished and burgeoning designers from a broad range of backgrounds. Applicants with degrees in fields such as philosophy, computer science, or biology—to name just a few—bring valuable perspectives to the practice of design. We welcome applicants from all domains. Students enter in the Fall semester only, with the exception of the 2-year Field track students, who enter in the Summer. Applications are due on the following deadlines for priority consideration, including potential scholarship awards: February 1: Lab track, Field track December 1: Field track, 2-year applicants only Applications received after the deadlines will be considered based upon available space. Decisions and notifications for February applicants are made by the end of March; for December applicants, by the end of January. Students are placed by the application review committee into one of the two tracks based upon their résumé, design portfolio, personal statement and stated preferences on the Media Design Practices Supplemental Application Form. 1 Complete all general Graduate admissions requirements. This can be downloaded, or you can complete our online application at applyweb. com/apply/accd. 2 Your portfolio. The design portfolio is the cornerstone of the application. The portfolio should present a body 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.). _ The portfolio must demonstrate experience and talent working with graphic, visual, interactive, or experiential media (typography, film, photography, animation, architecture, information architecture, user experience, computational design, interaction design). We encourage applicants from other fields but projects from outside of media design must demonstrate the applicant’s ability to cross boundaries and think about issues in the realm of communication and media. Projects can be professional, self-initiated, and/or class assignments.
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This is a program for students who want to elevate their understanding of production furniture and its relationship to manufacturing, materials and market. Students will often have a prior degree in Environmental, Product, or Furniture Design or a major with strong 3D making and conceptual skill sets.
_ All projects in the portfolio should be presented through Slideroom. No physical portfolios will be accepted. Media Design Practices prefers all portfolios in the form of either a PDF or a website. The PDF or website should include stills, screen shots or photo documentation for all projects including print, interactive, motion or video. Where possible, dynamic media projects should be accompanied by links to working examples to ensure the full depth of the project is experienced. This content can be on a personal website or third-party service such as Vimeo or YouTube. _ Upload a PDF or URL to Slideroom at https://artcenter.slideroom.com. A nominal fee will be charged by Slideroom for this service. Full instructions are listed on their site. 3 Statement of intent. Applications must include a personal statement of intent. The essay should outline the applicant’s motivation for pursuing graduate study in Media Design Practices at Art Center, discuss personal goals for the future, and outline any specific areas of interest or relevant experience within the field. The personal statement should be clear and concise, between 500-1500 words in length. Applicants to the Lab track should discuss the kinds of design questions and research explorations that focused experimentation in the studio will allow them to pursue. Applicants to the Field track should discuss the kinds of design questions and research explorations that community engagement in the field will allow them to pursue. 4 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.
5 L etters of recommendation (one to three) from academic and professional references are strongly encouraged. References 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.
Transportation Design The Graduate Transportation Design program seeks gifted, articulate, thoughtful individuals who are self-motivated and who would like to help transportation industries and agencies change the way they think. Diversity and breadth of background plays an important role in defining the transdisciplinary culture of the program. Applications for Transportation Design are accepted for the Fall term only. Applications are due on February 1 for priority consideration, including potential scholarship awards. Decisions are made in the month of March. If space is available, reviews will continue and applications will be accepted beyond that time. Check with the Admissions Office for availability. There are two distinct programs of study, Vehicle Design and Transportation Systems. Vehicle Design This track is appropriate for students wishing to enter or re-enter the vehicle/ automotive industry. Their goal may be to fast-track their careers with an orientation toward business or design strategy, or even beyond the bounds of traditional automotive studio positions. Transportation Systems This track is intended for students who want to focus on using design and systems thinking to create smart and innovative transportation solutions rather than design of vehicles per se. Students will have a desire to create change by engaging across disciplines and into areas such as policy-making, business strategy and urban planning as related to transportation systems. 1 Complete all general Graduate admissions requirements. 2 Submit your portfolio. Vehicle Track applicants should include vehicular projects that demonstrate high levels of transportation design competency. These should demonstrate creativity, critical thinking, problem solving, originality of solutions, excellent
visualization/drawing skills, 3D exploration, good organizational ability, the ability to research, and a sense of curiosity and inquiry. Evidence of previous study of transportation design and competency will be required. T ransportation Systems track applicants should include examples of design projects and concepts. These might incorporate a variety of projects, but should include some samples of transportation system concepts. Demonstration of critical thinking, problem solving, originality and organizational ability are important. Concepts should be demonstrated through drawing; it is understood that candidates for this track may not have well-developed visualizing skills, but evidence of an aptitude for drawing is important. Students will receive focused training in drawing and sketching once enrolled. 3 A written essay. Provide a written statement that delineates your motivation for pursuing a graduate program. This should include topics and areas of interest to be undertaken in the program as well as personal goals. Also describe specific skills and competencies you want to achieve. The statement should also articulate goals beyond completion of the program and describe how a design education will relate to career objectives. Transportation Systems applicants should also include a statement that highlights your particular interest in the future of transportation. This should make reference to the types of transportation systems that are of special interest and an explanation of their potential social impact.
Submitting Your Portfolio Following are the methods for submitting your work. Look for exceptions under the Departmental guidelines. 1 Slideroom (Web-based). Our preferred method for submission is through Slideroom. Upload your portfolio images at https://artcenter.slideroom.com. Slideroom will charge a nominal fee for this service. Full instructions are listed on the site. For general artwork, we recommend scanned images rather than photos for best resolution.
2 Non-Returnable Printed Portfolio. Size limit is 11" x 17" maximum, including the envelope or covering. This can include a presentation format or simply individual samples of the work. This format works well for the design disciplines in which presentation or project formats are appropriate. Copies of sketchbook can be included in this format along with the portfolio. Work will not be returned. Mail to: Admissions Office, Art Center College of Design, 1700 Lida St., Pasadena, CA 91103.
Notifications, Tuition Deposit and Deferrals Application Notifications Applicants will be notified of the Admissions Committee’s decision in writing on a rolling basis for Art and Broadcast Cinema and in March for Environmental Design, Industrial Design, Media Design, and Transportation Design. 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.
Tuition Deposit Spaces in the Graduate programs are limited. Spaces are reserved based on receipt of a $200 nonrefundable 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.
Deferrals Deferrals of admission are not available, with the exception of the Art program based on special permission.
Tuition and Fees for Graduate Students Art Center’s 2012–13 Graduate tuition is $18,522 per term. See page 141 of the Undergraduate Section for additional information.
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_ The portfolio should be edited to highlight the applicant’s 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.
New Student Orientation and Class Scheduling
Art Center encourages all students in need of financial aid to apply for funding. Graduate students are eligible for several Federal loan programs, Federal Work Study, and can apply for Art Center scholarships, which are generally need and merit based. Request the Financial Aid brochure at 626396-2215 or visit the Art Center website for more detailed information.
Graduate students will attend an Orientation program the week prior to the start of classes, and will have access to their schedule of classes at that time.
Application Procedure U.S. citizens and permanent alien residents must complete both the admissions requirements and the FAFSA (Free Application for Student Aid) to be considered for scholarships and financial aid. International students need only submit application materials. All applicants should meet the priority scholarship application date for the term for which they are applying. Depending on availability, it may still be possible to receive aid if those dates are not met. Priority Scholarship Dates Fall term: February 1 Spring term: October 1 Summer term (Media Design Field 2-year track): December 1 Notification of Scholarship Awards Accepted applicants who meet the priority dates will be notified in writing by: Summer term: March 1 Fall term: April 1 Spring term: November 15 For assistance in applying for financial aid, contact the Financial Aid Office at 626-396-2215.
Arrival and Housing Please call on the Admissions staff to help with questions or needs related to your arrival. While Art Center does not offer oncampus housing, the Center for the Student Experience coordinates information regarding local housing and roommate options on a housing website.
Graduate Studies A Graduate education at Art Center can be many things. It can complete the arc of academic investigation or be the start of an intensive artistic exploration. It can involve groundbreaking research methodologies and innovative systems design, or see traditional practices wrought into a uniquely personal vision. With distinctive and accomplished faculty, each of our six divergent Graduate programs provides the opportunity to focus on a specific area of inquiry — or traverse cognitive and disciplinary boundaries — in pursuit of advanced theory and practice.
Art
Broadcast Cinema (Film)
— Master of Fine Arts
— Master of Fine Arts
The Graduate Art curriculum combines oneon-one meetings with class work, with a view toward helping MFA candidates develop their practices individually at every level, from the technical to the theoretical.
With a focus on the development of a unique personal perspective through customized programs and creative freedom, Graduate Broadcast Cinema provides an unparalleled environment for aspiring filmmakers.
Environmental Design
Industrial Design
— Master of Science
— Master of Science
In pursuit of opportunity and innovation, students in Graduate Environmental Design go beyond style to consider the links between the psychological, physical, emotional and sensory effects in both spatial and furniture design.
Grad ID prepares students for careers as leaders in the creation of new value by combining excellence in visual design and making skills with applied practice of innovative system design methods. Consideration is given to the business, technological and humanistic aspects of any challenge.
Media Design Practices
Transportation Design
— Master of Fine Arts
— Master of Science
Graduate Media Design students take on the future of communication within a context of cultural and technological change through either a studio-based track founded on critical making or a field-based track for social impact.
This innovative program is designed for students from a variety of disciplines who are passionate to reshape paradigms and create compelling, sustainable and viable transportation and mobility solutions.
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Graduate Art Jeremy Gilbert-Rolfe Department Chair
Graduate Art is an interdisciplinary program in which degree candidates can be, and we can accommodate, any kind of artist, and where they can make any kind of art there is or that they invent. We have a core faculty (which includes the Chair) of seven artists, supplemented by five other full-time artists, critics and theorists, and an adjunct faculty of approximately 20 artists, critics and theorists. Students will find themselves spending a lot of time in one-on-one meetings with faculty, in addition to the workshops and other courses they take. The core and full-time faculty will collectively grade a student’s work at the
We aim for diversity and don’t do things quite like anyone else perhaps — and our alumni’s work is to be found in galleries and museums all over the world.
end of each term, and a group of them will meet with the student at the end of the second and fourth term to review his or her general progress. In the final two terms, degree candidates have a committee of three core faculty members, of whom the student chooses one, to supervise the preparation of a final show, plus a reader to help with the thesis that must accompany it. The thesis will be on either the student’s own work or a topic closely related to it, and both the show and thesis must be defended in a public review led by members of the committee. Being at Art Center continues to intensify my resolve about understanding what it is that I want art to do and be. The divergence of ideas and methods here creates an environment that repels any notion of complacency. Raymie Iadevaia Term 5
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TITLE CESCA / STUDENT MATTHEW WALLER TERM 4 / CLASS MASTERS PROJECT, SUMMER 2012
TITLE VANISHING MECHANICS / STUDENT CHRIS ELLIS TERM 6 / CLASS MASTERS THESIS, SPRING 2011
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TITLE TERMITE HILL I / STUDENT OWEN SCHMIT / TERM 6 CLASS MASTERS THESIS, FALL 2011
TITLE CLEAVAGE / STUDENT LAUREN KING / TERM 6 CLASS MASTERS THESIS, SPRING 2011
TITLE SIXTH SUN / STUDENT XILOMEN RIOS / TERM 2 CLASS MASTERS PROJECT, SPRING 2012
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TITLE CONTROLLED COLLAPSE / STUDENT JIYON HONG CLASS MASTERS THESIS, FALL 2011
TITLE POLYSYNDETON / STUDENT PATRICK TOBIAS / TERM 6 CLASS MASTERS THESIS, FALL 2011
TITLE TROUT / STUDENT QUINTON MCCURINE / TERM 6 CLASS MASTERS THESIS, SPRING 2011
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Alumni Focus Diana Thater MFA 1990
Being an artist is a privilege. It’s also an ultimatum, in that real artists see no other choice in how to spend their lives. We were taught in the MFA program how to think, how to make art, how to follow our calling and occasionally curse the ultimatum — but be thankful for the privilege we’ve been given.
Diana Thater is a groundbreaking film, video and installation artist as well as an accomplished curator, writer and professor. She lives and works in Los Angeles. (TOP) TITLE PEONIES, 2011 (RIGHT) TITLE CHERNOBYL, 2011
Faculty
Program of Study
DEPARTMENT CHAIR
TERM 1 GSA-501 Master’s Project 1 6 AGA-554 Graduate Seminar 0 AGA-506 Theories of Construction 3 Electives 6
Jeremy Gilbert-Rolfe CORE FACULTY
Lita Albuquerque Walead Beshty Stan Douglas Patti Podesta Diana Thater Annette Weisser FULL-TIME FACULTY
Taft Green Bruce Hainley Gabrielle Jennings Tim Martin Jason Smith VISITING ARTIST
Antje Englemann ADJUNCT FACULTY
Tom Allen Skip Arnold Uta Barth Cindy Bernard Trinie Dalton Fred Dewey Lecia Dole-Recio Kim Fisher M. A. Greenstein James Hayward Patrick Hill Jennifer Krasinski Alice Könitz Kelly Mason Pauline Stella-Sanchez Jan Tumlir Benjamin Weissman John Welchman
TERM 2 GSA-502 Master’s Project 2 6 AGA-554 Graduate Seminar 0 AGA-506 Theories of Construction 3 Electives 6 TERM 3 GSA-551 Master’s Project 3 6 AGA-554 Graduate Seminar 0 AGA-506 Theories of Construction 3 AGA-617 Master’s Thesis Prep 0 Electives 6 TERM 4 GSA-552 Master’s Project 4 6 AGA-554 Graduate Seminar 0 AGA-506 Theories of Construction 3 AGA-617 Master’s Thesis Prep 0 Electives 6 TERM 5 GSA-601 Master’s Thesis 5 6 AGA-554 Graduate Seminar 0 AGA-506 Theories of Construction 3 Electives 6 TERM 6 GSA-601 Master’s Thesis 6 AGA-554 Graduate Seminar 0 AGA-506 Theories of Construction 3 AGA-700 Completed Thesis 0 Electives 6 Total Required Units
90
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Graduate Broadcast Cinema Robert Peterson Department Chair
A compelling story delivered through a unique personal perspective can inspire audiences around the world, and we believe the development of your singular creative identity is the most important part of a filmmaking education. To that end, creative freedom and experimentation are the hallmarks of our program, which is customized to the goals of each individual student. Students have the opportunity to create, direct and own their work at Art Center. They can focus on directing and screenwriting, or on a specialized creative role such as production designer, director of photography, editor or
Art Center’s Graduate Broadcast Cinema curriculum encourages students to create beyond existing genres, designing new forms of storytelling and methods of production. producer. Faculty mentors — exemplary artists and filmmakers with divergent perspectives — guide and assist students in the design, development and production of their projects. Our program attracts experienced filmmakers with diverse storytelling skills as well as some who are new to the field. There are no boundaries among disciplines here, where collaborations among students and faculty from all of our majors allow ideas to flourish, providing a fertile creative environment for filmmakers. And our proximity to the Hollywood community makes Art Center an ideal choice for aspiring and contemporary filmmakers to hone their skills and develop their concepts. When I came to Art Center I felt like a veil was lifted, helping me see things beyond my imagination. I discovered my voice, and the true meaning of artistic collaboration. Carlo Olivares Paganoni Term 6
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TITLE ROSE / DIRECTOR HOKU UCHIYAMA / CINEMATOGRAPHER ADAM MELTZER / PRODUCTION DESIGNERS ADAM BOLT & ALANA LAGERHAUSEN / EDITORS HOVIG MENAKIAN & HODU UCHIYAMA PRODUCER MICHAEL SILBERMAN
TITLE THE CHAIR / DIRECTOR MARCEL LANGENEGGER CINEMATOGRAPHER AARON BARNES / PRODUCTION DESIGNER MARCEL LANGENEGGER / EDITOR MARCEL LANGENEGGER PRODUCER MARCEL LANGENEGGER
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TITLE BICYCLES AND RADIOS / DIRECTOR O NATHAPON CINEMATOGRAPHER DAVID ETHAN SANDERS PRODUCTION DESIGNER TOMOYA IMAI, EDITOR O NATHAPON PRODUCERS O NATHAPON & SUKUNYA SIDEN
TITLE BODY AND SOUL / DIRECTOR PUNTIP LIMRUNGROJ CINEMATOGRAPHER CEDRIC ANGELES / PRODUCTION DESIGNER MANOCH THONGSUK, EDITORS PASCUAL SISTO & BRETT E. ERHARD PRODUCER PUNTIP LIMRUNGROJ
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TITLE EL ORTHODONCISTA / DIRECTOR CHRIS GEHL CINEMATOGRAPHER LIZ RUBIN / PRODUCTION DESIGNER SONYA PALENCIA, EDITOR CHRIS GEHL / PRODUCERS IMELDA CARLOS & CHRIS GEHL
TITLE DEFACE / DIRECTOR JOHN ARLOTTO CINEMATOGRAPHER JAMES MANN / PRODUCTION DESIGNER CHRISTIAN CHI LEE, EDITOR JOHN ARLOTTO PRODUCER ROMAN WYDEN
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Alumni Focus Zack Snyder 1989
Beyond the top-notch technical skills I acquired, Art Center provided me with the tools to figure out what I had to offer as a filmmaker. Art Center excels at finding the individual in each student and letting that individuality define the filmmakers.
Known for a striking visual style combining dynamic compositions, highly saturated color schemes and visual effects, Snyder’s credits include Dawn of the Dead, 300, Sucker Punch and Watchmen. He’s currently wrapping up production on the highly anticipated Superman reboot, Man of Steel, due out in June 2013. TITLE WATCHMEN COURTESY OF WARNER BROS. ENTERTAINMENT INC.
Faculty
Program of Study
DEPARTMENT CHAIR
SBC-556 Master’s Directing 1 6 SBC-506 Introduction Seminar: Producer 0 SBC-507 Introduction Seminar: Editor 0 SBC-508 Introduction Seminar: Production Designer 0 SBC-506 Introduction Seminar: Cinematographer 0 ABC-570 Master’s Identity Seminar 3 ABC-501 Master’s Seminar (Take 2 times) 6 ABC-639 Master’s Final Project Development (Take 3 times) 9 SBC-611 Master’s Directing Class 6 SBC-595 Master’s Screenwriting 3 SBC-595 Master’s Screenwriting 3 ABC-572 Master’s Presentation Seminar 3 SBC-573 Master’s Production Seminar 3 ABC-601 Thesis Research 3 ABC-651 Master’s Workshop 3 SBC-651 Thesis 3 SBC-673 Master’s Post Production Seminar 3 SBC-525 Unintended Martyrs 3
Robert Peterson FULL-TIME FACULTY
Marcie Begleiter Arshag Dickranian, Coordinator Victoria Hochberg Eric Sherman PART-TIME FACULTY
Nir Bashan Monte Bramer Jay Chapman Jean-Pierre Geuens Dr. John Hartzog Howard Heard Stephanie Nash Jean Rasenberger (full time at Art Center, part time within Department) Pauline Sanchez (full time at Art Center, part time within Department)
Studio Elective Units Total Required Units
9 69
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Graduate Environmental Design David Mocarski Department Chair
Introduced in 2012, this advanced Environmental Design program takes degree candidates beyond style to consider the links between the psychological, physical, emotional and sensory effects of quality design. In the process, they become uniquely qualified to advance the discipline and the craft of environmental design. We design spatial experience — from the first moment of encounter to the last moment of interaction — with a focus toward hospitality, retail, office, exhibition and event design. Although they will most often generate the creative guidelines by which a total experience is explored, our approach dictates that students work
Rather than merely following trends, Graduate Environmental Design students define the future. collaboratively, across disciplines. Tracks in Spatial Experience and Furniture & Fixtures enable degree candidates to specialize and obtain advanced knowledge on theory and practice. Students arrive here as opportunity seekers in the creative process. Through a curriculum concentrating on extensive conceptual rigor crossed with business practices — and a focus on theoretical thinking, technical innovation, manufacturing, fabrication and project execution — they create opportunity, innovation and development within the discipline. Ultimately, they leave Art Center well prepared to become singular design leaders.
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Graduate Environmental Design
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Q&A David Mocarski Department Chair
How does Graduate Environmental Design differ from the undergraduate program? Ultimately, it focuses on innovation in addition to practice. Let’s start by considering the essence of environmental design, which is to build spatial experience. That means considering every aspect of how a person relates with the objects, products and space in the environment she or he occupies, and then building it out to promote a satisfying and successful experience. What exactly does “satisfying and successful” mean in that context? That depends on the environment. If you’re designing a retail space, a satisfying and successful experience would be one that makes a customer comfortable enough to act on their desire to shop, and results in a sale for the store — or at the very least an experience that was worth repeating for the consumer. If you’re designing a hotel or a restaurant, you strive for a welcoming encounter in an environment that is aesthetically pleasing and functional for its intended purpose. Where does the environmental designer fit into those types of projects? On one side of the equation you have architects, who build what are essentially structures. They primarily give thought to the big picture of how and where that structure fits in its space, and the use or uses to which it will be put — whether that’s as a residential space, an office space, a sports complex or anything else. On the other, you have product designers who create objects more as a stand-alone, on an item-by-item basis, and not necessarily intended for use in a specific environment. The environmental designer works with both parts of the equation to impact everything from the spatial environment down to the furniture and fixtures, and the way — or various ways — a person experiences them. When does the environmental designer start to wield her or his hand? It depends. Inspired architects might collaborate with an engineer and an environmental designer from the moment they conceive a project to ensure the structure meets its functional goals. Landscape designers might work with an environmental designer in the planning stage to ensure a successful blend of aesthetics and experience. Retailers or restaurants moving into a preexisting space might call upon an environmental designer once they’ve located a place to call home. The same goes for artists or museum directors once they’ve selected a gallery space to install works of art or a show. But at whatever stage they are called upon, it’s a highly collaborative process in that every aspect of a user experience is linked to what an environment looks and feels like, as well as what physically fills it. And while it’s the environmental designer’s job to
map out what happens in the environment, there are almost always many people involved in creating or designing those variable elements. It sounds like a fairly broad spectrum of design opportunity. Definitely. Environmental design is very attractive to creatives who don’t necessarily want to be limited to designing in one scale. In this discipline, we have a chance to impact everything, every moment of an environmental experience that touches a person — from the way they enter and move through a space to the light and sounds that surround them. When well executed, it’s a very gratifying job. So what about innovation? We are very proud of what our undergrads have done, coming out of Art Center and finding jobs with some of the best firms in the world. And we’re very happy to continue educating designers to be successful in the field of environmental design as it exists today. But design drives innovation as much as innovation drives design, and in our program we look at innovation in all aspects of what we do. Innovation in the experience itself. Innovation in materials, in fabrication and making. Innovation in project management. At the undergraduate level, designers tend to focus on a few areas and develop a specialty, or a niche in which they can become successful when they get out of school. But many successful environmental designers are reaching out, looking for a deeper understanding of this profession they’ve chosen and how they can drive it, and themselves, to the highest level. If we ask the big questions, and set about examining what’s coming next in our field, we can educate more than expert practitioners, we can educate leaders. What distinguishes Graduate Environmental Design at Art Center from other such programs? Foremost is the fact that we are unapologetically industry focused. Whatever theoretical pursuits you follow here, you will also enhance your marketable skills designing spatial experiences in retail, hospitality, exhibition design and all of the furniture, fixtures and materials that go with it. Supporting that focus is a world-class faculty of working professionals who are so passionately drawn to the notion that they can contribute and literally be a game changer in how the next generation of artists and designers are being educated. Everybody in our department runs their own studios. We all work internationally. We all know that none of us does business the same way as we did even five years ago, let alone 10 or 15 years ago, and we’re living examples of how to navigate those changing waters. That experience, that ability to continually adjust and redefine and examine everything we do under a microscope allows us to present the best and most forward-looking educational experience possible.
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TITLE AUDIO STACKING CHAIR / STUDENT CHRIS ADAMICK CLASS BERNHARDT DESIGN STUDIO / PROGRAM ENVIRONMENTAL DESIGN
TITLE W HOTELS / ALUMNA SHELLY SHELLY STUDIO GRAFT LOS ANGELES
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TITLE SERF TASK TABLE / STUDENTS INI ARCHIBONG, JOHN PHILLIPS & STEPHANIE STALKER / CLASS BERNHARDT DESIGN STUDIO / PROGRAM ENVIRONMENTAL DESIGN
TITLE KATSUYA / ALUMNUS CHRIS ALVARADO STUDIO SBE ENTERTAINMENT GROUP
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TITLE LOFT CHAIR / STUDENT SHELLY SHELLY CLASS BERNHARDT DESIGN STUDIO / PROGRAM ENVIRONMENTAL DESIGN
Faculty
Program of Study
DEPARTMENT CHAIR
FURNITURE & FIXTURES
David Mocarski Graduate and Undergraduate Environmental Design FULL-TIME FACULTY
Robert Ball Ania Borysiewicz Siobhan Burke Kenneth Cameron Cody Clark Tyrone Drake Daniel Gottlieb Cory Grosser Penny Herscovitch Robert Hunt Johannes Lampela Benjamin Luddy James Meraz, Associate Professor Emil Mertzel Michael Neumayr Nolen Nui Yo Oshima Jason Pilarski Dewi Schoenbeck Jennifer Silbert Eddy Sykes
SPATIAL EXPERIENCE
2-YEAR PATH TERM 1 ENV-501 Topic Studio: Furniture 3 ENV-502 Topic Studio: Lighting 3 ENV-504 Digital Process 6 3 ENV-505 Materials & Innovation 1 3 ENV-607 Space, Brand & Experience 3
TERM 2 ENV-151 Digital Process 2; ENV-201 Digital Process 3; ENV-251 Digital Process 4; OR ENV-311 Digital Process 5 ENV-310 Topic Studio: Lighting ENV-310 Topic Studio: Furniture MAT-203 Illumination: Lighting CUL-341 History and Theory of Space 2
TERM 2 ENV-507 Advanced Topic Studio: Furniture ENV-508 Advanced Topic Studio: Lighting ENV-509 Digital Process 7 ENV-510 Grad Seminar ENV-608 Theory, Concept, Culture
TERM 3 ENV-501 Topic Studio: Furniture 3 ENV-502 Topic Studio: Lighting 3 ENV-504 Digital Process 6 3 ENV-505 Materials & Innovation 1 3 ENV-607 Space, Brand & Experience 3
TERM 3 ENV-511 Research Project: Industry Sponsor
3 3 3 3 3
4
TERM 4 ENV-601 Thesis Studio 1 6 ENV-602 Fabrication Innovation 1 3 ENV-603 Concept-Management Process 3 ENV-310 Topic Studio 3 TERM 5 ENV-604 Thesis Studio 2 9 ENV-605 Documentation: Presentation 3 ENV-606 Fabrication Innovation 2 3 Total Required Units
64
3-YEAR PATH TERM 1 ENV-104 Materials & Making 3 ENV-151 Digital Process 2; ENV-201 Digital Process 3; ENV-251 Digital Process 4; OR ENV-311 Digital Process 5 3 ENV-265 Visual Communication 2 3 ENV-310 Topic Studio 3 3 PRP-229 Branding Strategies
3 3 3 3 3
TERM 4 ENV-507 Advanced Topic Studio: Furniture ENV-508 Advanced Topic Studio: Lighting ENV-509 Digital Process 7 ENV-510 Grad Seminar ENV-608 Theory, Concept, Culture TERM 5 ENV-511 Research Project: Industry Sponsor
3 3 3 3 3
4
TERM 6 ENV-601 Thesis Studio 1 6 ENV-602 Fabrication Innovation 1 3 ENV-603 Concept-Management Process 3 ENV-310 Topic Studio 3 TERM 7 ENV-604 Thesis Studio 2 9 ENV-605 Documentation: Presentation 3 ENV-606 Fabrication Innovation 2 3 Total Required Units
94
2-YEAR PATH TERM 1 ENV-504 Digital Process 6 3 ENV-505 Materials & Innovation 1 3 ENV-512 Spatial Scenography Studio 1 3 ENV-514 Ambient Media + Interactivity 3 ENV-607 Space, Brand & Experience 3 TERM 2 ENV-509 Digital Process 7 ENV-510 Grad Seminar ENV-515 Spatial Scenography Studio 2 ENV-516 Advance Spatial Graphics ENV-608 Theory, Concept, Culture TERM 3 ENV-511 Research Project: Industry Sponsor
3 3 3 3 3
4
TERM 4 ENV-601 Thesis Studio 1 6 ENV-602 Fabrication Innovation 1 3 ENV-603 Concept-Management Process 3 ENV-310 Topic Studio 3 TERM 5 ENV-604 Thesis Studio 2 9 ENV-605 Documentation: Presentation 3 ENV-606 Fabrication Innovation 2 3 Total Required Units
64
3-YEAR PATH TERM 1 ENV-152 Environmental Design 2; ENV-202 Environmental Design 3; OR ENV-352 Experience Design 3 ENV-151 Digital Process 2; ENV-201 Digital Process 3; ENV-251 Digital Process 4; OR
ENV-311 Digital Process 5 ENV-153 Design Lab 2 ENV-310 Topic Studio ENV-265 Visual Communication 2
3 3 3 3
TERM 2 ENV-251 Digital Process 4 3 ENV-252 Environmental Design 4 3 ENV-253 Structure: Interior Architecture 3 3 ENV-271 Design Lab 4 CUL-341 History and Theory of Space 2 3 TERM 3 ENV-504 Digital Process 6 3 ENV-505 Materials & Innovation 1 3 ENV-512 Spatial Scenography Studio 1 3 ENV-514 Ambient Media & Interactivity 3 ENV-607 Space, Brand & Experience 3 TERM 4 ENV-509 Digital Process 7 ENV-510 Grad Seminar ENV-515 Spatial Scenography Studio 2 ENV-516 Advance Spatial Graphics ENV-608 Theory, Concept, Culture TERM 5 ENV-511 Research Project: Industry Sponsor
3 3 3 3 3
4
TERM 6 ENV-601 Thesis Studio 1 6 ENV-602 Fabrication Innovation 1 3 ENV-603 Concept-Management Process 3 ENV-310 Topic Studio 3 TERM 7 ENV-604 Thesis Studio 2 9 ENV-605 Documentation: Presentation 3 ENV-606 Fabrication Innovation 2 3 Total Required Units
94
ART CENTER VIEWBOOK 2013–2014
Graduate Industrial Design Andy Ogden Department Chair
Art Center’s Grad ID program offers a Master of Science curriculum focusing on theory and practice for the production of insightful research, the development of human-centric designs and the creation of new business opportunities. We combine the pursuit of extraordinary 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,
Peter Drucker once wrote, “The best way to predict the future is to create it.” Our program prepares graduates with an optimal combination of knowledge, skills and experience to lead innovation for enterprise and to create the future. 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 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. Expect to be pushed to your mental and physical limit; expect to work with some really amazing people — and come out on the other side a better designer, entrepreneur and citizen of the world. Siddharth Vanchinathan Term 6
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Graduate Industrial Design
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TITLE REDESIGNING THE ERV / STUDENT PENGTAO YU / TERM M4 STUDIO INSTRUCTORS KATHERINE BENNETT, STEVE MONTGOMERY & ANDY OGDEN AWARD CORE 77 FIRST STUDENT DESIGN AWARD DESCRIPTION PENG TAO YU’S INNOVATIVE PROPOSAL FOR A NEW AMERICAN RED CROSS EMERGENCY RESPONSE VEHICLE EMPLOYS CONVERSION KITS THAT TRANSORM ORDINARY RENTAL TRUCKS INTO EFFECTIVE EMERGENCY RESPONSE VEHICLES IN A FRACTION OF THE TIME AND COST. THE RED CROSS IS CURRENTLY PUTTING THE IDEA INTO ACTION TO SAVE MILLIONS OF DOLLARS AND SPEED RESPONSE TO THOSE IN NEED. ART CENTER AND PENG TAO WERE BOTH AWARDED THE CERTIFICATE OF APPRECIATION FROM AMERICAN RED CROSS EXECUTIVE LEADERSHIP.
RENTAL TRUCK
CONVERSION KIT
EMERGENCY RESPONSE VEHICLE
TITLE A PLACE FOR MY STUFF / STUDENT JONAS KRISTIANSSON / TERM M1 STUDIO INSTRUCTOR TODD JONES & STEVE MONTGOMERY / AWARD 2012 IDSA DESIGN AWARD FINALIST DESCRIPTION BASED ON EXTENSIVE OBSERVATIONAL RESEARCH FOR THE UNMET NEEDS OF YOUNG PROFESSIONALS, THIS COMPUTER BRIEF OFFERS A RARE COMBINATION OF LIGHT STYLE, FUNCTIONALITY AND EASE OF USE FOR THE MOBILE DIGITAL WORKER.
ART CENTER VIEWBOOK 2013–2014
192
Graduate Industrial Design
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TITLE FLIGHTPATH COCKPIT AUTOMATION AND INTERFACE SYSTEM / STUDENT URI TZARNOTZKY TERM M6 THESIS STUDIO / INSTRUCTORS BRIAN BOYLE, KRYSTINA CASTELLA, STEVE MONTGOMERY, ANDY OGDEN & GEOFF WARDLE DESCRIPTION URI TZARNOTZKY’S THESIS RESEARCH LED HIM TO THE DESIGN FOR FLIGHTPATH — A COCKPIT AUTOMATION AND INTERACTION SYSTEM THAT REDEFINES THE END-TO-END PILOT EXPERIENCE SO THAT MORE TIME IS SPENT ENJOYING THE VIEW OUTSIDE THE CANOPY AND LESS TIME IS SPENT WITH THE HASSLES OF MODERN FLYING.
TITLE ETHEREAL RUNNING / STUDENT KEVIN BETHUNE / TERM M6 THESIS STUDIO INSTRUCTORS KRYSTINA CASTELLA, WOOK KIM, STEVE MONTGOMERY, ANDY OGDEN & GEOFF WARDLE DESCRIPTION A SYSTEM TO HELP RUNNERS WITH VARIOUS MOTIVATIONS GROW TO HIGHER LEVELS. THE VIRTUAL COACHING SYSTEM EMPLOYS PROPRIETARY CONTENT AND INTERFACE DESIGNS FOR REMOTE OPERATION OF SMARTPHONE-BASED PERFORMANCE TRACKING AND MONITORING WITH PERSONALIZED RIGHT-TIME, RIGHT-PLACE COACHING CONTENT.
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Graduate Industrial Design
TITLE NESTR BAMBOO MODULAR BOXSPRING FRAME AND LATEX MATRESS BED SYSTEM / STUDENT KOO HO SHIN INSTRUCTORS HEIDRUN MUMPERDRUM & FRIDOLIN BEISERT AWARD 2011 IDSA BRONZE IDEA AWARD
ARTCENTER.EDU/GRADID
TITLE LOFT / STUDENT PENGTAO YU / TERM M2 STUDIO INSTRUCTORS STEVE MONTGOMERY, ANDY OGDEN & MARK ANDERSEN AWARD 2011 IDSA BRONZE IDEA AWARD DESCRIPTION LOFT IS AN ALL-IN-ONE BATHROOM WORKSTATION TARGETED AT FIRST-TIME HOME BUYERS AND REMODELERS WHO LIVE IN SMALL URBAN SPACES.
TITLE SMART FOOTPAD AND REMOTE TELEPRESENCE ACUPRESSURE SYSTEM STUDENT LAN YU / TERM M6 THESIS STUDIO / INSTRUCTORS KRYSTINA CASTELLA, WOOK KIM, STEVE MONTGOMERY, ANDY OGDEN & GEOFF WARDLE
REPLACEABLE FOOT MAT
INDIVIDUAL CONTROL POINTS
COMPACT DESIGN
PRESET ACUPRESSURE SYSTEM
TELEPRESENCE SERVICE SYSTEM
CUSTOMIZABLE APPLICATION
ART CENTER VIEWBOOK 2013–2014
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Alumni Focus Magdalena Paluch 2011
With an emphasis on ethnographic studies, observation and future scenarios planning, the Grad ID curriculum prepared me to design in the context of human, technological and business needs, as well as envision and develop holistic experiences that fulfill the sustainability requirements of the environment and the economy.
Magdalena Paluch is currently working on advanced product strategy at Toyota. Informed by a background in architecture and planning, she is focused on the user-centric design approach and materials research. TITLE CYCLE GUILD CYCLE GUILD IS A SYSTEM DESIGNED TO INCREASE THE NUMBER OF CYCLING COMMUTERS IN THE U.S. IT HAS FEATURES THAT INCLUDE BIKE ROUTING, CONTEXT BASED MARKETING, SOCIAL NETWORKING AND GAMING. MOST IMPORTANTLY IT PROVIDES A POSITIVE FEEDBACK LOOP BETWEEN URBAN CYCLISTS, LOCAL BIKE RETAILERS, MEMBERS OF THE LOCAL COMMUNITY AND POLICYMAKERS. MAGDALENA WORKED WITH COLLEAGUE SYUZI PAKHCHYAN TO DEVELOP A BICYCLE SHOE THAT EMPLOYS NEW MATERIALS TO PRODUCE LIGHTING FOR INCREASED RIDER VISIBILITY AT NIGHTIME.
Faculty
Program of Study
DEPARTMENT CHAIR
TERM 1 IND-501 M1 Studio IND-502 Visualization 1 IND-503 Visual Form 1 IND-505 Materials & Methods 1 IND-507 Sparks & Connections IND-551 3D Development 1 IND-652 Visualization CG Lab
Andy Ogden CORE FACULTY
Nathan Allen Katherine Bennett Krystina Castella Richard Keyes Stan Kong Steven Montgomery Peter Nelson Geoff Wardle, Executive Director Graduate Transportation Pascual Wawoe Daisuke Yamaguchi STAFF
Maritza Herrera, Coordinator Wook Kim, Director ADJUNCT FACULTY & THESIS ADVISORS
James Todd Jones Story Musgrave Emily Sawamura Lloyd Walker
TERM 2 IND-521 M2 Studio (Tactical Design) IND-530 Materials & Methods 2A IND-531 Materials & Methods 2B IND-533 Visual Form 2 IND-552 Visualization 2 IND-571 3D Development 2 IND-608 Design Investigations
3 3 3 3 3 3 3
3 3 3 3 3 3 3
TERM 3 IND-500 3rd Term Review 0 IND-540 Materials & Methods 3A 3 IND-541 Materials & Methods 3B 3 IND-555 System Design Research 3 IND-557 M3 Studio (System Design) 3 IND-601 3D Development 3 3 IND-602 Visual Form 3 3 IND-610 Visualization 3 3
TERM 4 IND-605 Entrepreneur Methodology 3 IND-651 M4 Studio (Sponsored Project) 3 IND-671 Visualization 4 3 TERM 5 IND-600 5th Term Progress Review IND-670 Workshop 5 IND-681 M5 Studio Elective credits
0 3 3 6
TERM 6 IND-606 Entrepreneur Studio IND-672 Workshop 6 IND-682, M6 Studio Elective credits
3 3 3 3
Total Required Units
99
ART CENTER VIEWBOOK 2013–2014
Graduate Media Design Practices Anne Burdick Department Chair
Media Design Practices offers an MFA that prepares designers from a variety of backgrounds to become design leaders, researchers and entrepreneurs in emerging fields. We are looking for risk-takers with hybrid interests who can integrate innovative design with intellectual investigation and who pursue their work with depth and passion. We take a critical approach to people, making and technology and have an interdisciplinary faculty that works collaboratively to support our students’ wildly diverse outcomes. We offer two tracks — Field and Lab — that expose students to the rigors of
We are dedicated to defining new practices in design for a world in flux, and to producing graduates who are prepared for a lifetime of innovation.
distinct cultural and technological contexts. Field track students design in a real-world context where social issues, media infrastructure and communication technology intersect. Run in collaboration with Designmatters, the track is built around a yearlong project conducted in the field. Our partner for 2013–14 is UNICEF’s Innovation Lab in Kampala, Uganda. Lab track students investigate emerging ideas from design, culture, science and technology in a studio context. The curriculum is built around a series of intensive projects that bring to the studio ideas and collaborators from tech industry R&D, academic research, the international art community and the far edges of culture. Considering design merely as a tool to create “pretty things” squanders its potential. Once you see design as a means to disrupt a familiar system, you can use it to establish new boundaries and create change. Matthew Manos Term 6 ART CENTER VIEWBOOK 2013–2014
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Graduate Media Design Practices
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TITLE TEMPLE OF SELF / STUDENT AARTI VASHISHT / YEAR LAB THESIS, 2012 DESCRIPTION TEMPLE OF SELF COMBINES FUTURE FICTION WITH DESIGN RESEARCH TO INVESTIGATE SELF-SENSING IN WHICH THE BODY ITSELF BECOMES A CONDUIT FOR INFORMATION. SUBTLE YET OMNIPRESENT DEVICES (SHOWN HERE AS DOTS ON FINGERTIPS) WERE WORN BY PARTICIPANTS FOR WEEKS, YIELDING STORIES THAT POINT TOWARD A NEW OBSESSIVE NORM.
TITLE A MACHINE FRAME OF MIND / STUDENT BROOKLYN BROWN / YEAR LAB THESIS, 2012 DESCRIPTION A MACHINE FRAME OF MIND USES COMPUTER VISION AS DESIGN MATERIAL. THE ANALYTIC CAPABILITIES OF THE COMPUTER’S PERSPECTIVE COMBINED WITH THE INCREASING AMBIGUITY OF HUMAN IDENTITY GIVES RISE TO THE CREATION OF THE ABSTRACT, COMPUTERIZED SELF. BROWN IS THE 2012 MEDIA DESIGN PRACTICES POST-GRADUATE FELLOW.
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TITLE CONTACTS / STUDENT LUKE JOHNSON / YEAR POST-GRADUATE FELLOWHSIP 2010
TITLE HUDDLE / STUDENT JAYNE VIDHEECHAROEN / YEAR 2011
DESCRIPTION CONTACTS IS A SERIES OF INTERVIEWS IN WHICH CELL PHONE CONTACTS ARE USED TO EXPOSE THE SOCIAL COPING MECHANISMS THAT WE EMBED IN OUR DEVICES.
DESCRIPTION WEARING GOOGLE TRANSLATOR ON TWO BACK-TO-BACK COMPUTERS STRAPPED AROUND HER NECK, VIDHEECHAROEN CREATED HUDDLE, AN OPPORTUNITY FOR EXCHANGE IN SITUATIONS FRAUGHT WITH LANGUAGE AND CULTURAL BARRIERS.
JOHNSON IS SENIOR DESIGN RESEARCHER FOR NOKIA’S ADVANCED DESIGN AND VISUAL STRATEGIST FOR JET PROPULSION LABORATORY (JPL).
Students are encouraged to follow their curiosity and use their skills as designers to investigate people and their relationship to communication technology.
TITLE PROJECT GOOD CRY / STUDENT DEE KIM / YEAR LAB THESIS, 2012
TITLE PORTALS AND FRIENDS / STUDENT JAYNE VIDHEECHAROEN / YEAR LAB THESIS, 2012
DESCRIPTION PROJECT GOOD CRY EXPLORES THE CONSTRUCTION OF EMOTIONS IN DIGITAL MEDIA IN BOTH PUBLIC AND PRIVATE CONTEXTS. AS ONE OF HER EXPERIMENTS, KIM CREATED THE “I CRIED” BUTTON, A PLUG-IN THAT CAN BE INSTALLED FROM THE CHROME WEB STORE FOR YOUTUBE.
DESCRIPTION WHEN USERS REACH INTO THEIR “PORTALS,” THEIR HANDS APPEAR TO MEET IN GOOGLE STREET VIEW WHERE THEY CAN PLACE OBJECTS, HOLD EVENTS AND MEET. THIS REAL-TIME HYBRID PLAY SPACE IS BUILT FOR TODAY’S NETWORK CULTURE. VIDHEECHAROEN IS SENIOR INTERACTIVE MEDIA DESGNER AT SCOOT & DOODLE.
KIM WORKS FOR THE INSTITUTE FOR THE FUTURE AND UNICEF’S INNOVATION LABS.
Students create working prototypes to explore the exchange between digital and physical cultures and spaces.
ART CENTER VIEWBOOK 2013–2014
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Graduate Media Design Practices
ARTCENTER.EDU/MDP
TITLE AFFECTION STATIONS / STUDENT SALVADOR ORARA / YEAR LAB THESIS, 2012 DESCRIPTION AFFECTION STATIONS ARE A SET OF INTERACTIVE INSTALLATIONS DESIGNED TO “REVEAL” THE INTERNAL MYSTERIES OF OUR PORTABLE ELECTRONIC DEVICES. A UNIQUE PATTERN OF SOUND, LIGHT OR MOTION IS EMITTED IN RESPONSE TO EACH MOBILE PHONE PLACED AT ONE OF THE STATIONS. ORARA IS FOUNDER/PARTNER AND CREATIVE TECHNOLOGIST AT RARE STUDIO.
TITLE BE MY SATELLITE / STUDENT BORA SHIN / YEAR LAB THESIS, 2012 DESCRIPTION IN THE EYE OF THE SATELLITE, YOU ARE NOT EVEN A PIXEL. BE MY SATELLITE USES OPEN-SOURCE SATELLITE TRACKING DATA, A LOW-TECH BALLOON CAMERA AND COLLABORATIVE SATELLITE IMAGE-HACKING TO BUILD AWARENESS OF THE PRESENCE, EFFECTS AND POSSIBILITIES OF UBIQUITOUS GEOSPATIAL IMAGING IN DAILY LIFE. SHIN IS AN INTERN AT JET PROPULSION LABORATORY (JPL) AND PARTNER/CREATIVE DIRECTOR AT A VERYNICE DESIGN STUDIO.
ART CENTER VIEWBOOK 2013–2014
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ARTCENTER.EDU/MDP
Q&A Anne Burdick Department Chair
Why did you recently introduce two tracks? Bringing new practices to design and media is a key aim of our program. So when we see an emerging direction that offers our graduates opportunity and adventure, we go for it. We saw our alumni generally heading in one of two very different directions: future-oriented research and experimental media or on-the-ground social engagement. We felt if we created a curricular experience tailored to these orientations, we could create a vibrant dialogue and an environment that becomes a hotbed for new ideas. Talk about the two tracks. The two tracks are Field and Lab. The curriculum for each is built on a project-based model in which students approach complex situations from multiple perspectives. But the time frame and context that structures their work differs substantially. Lab track prepares students for work in high-tech, future-focused settings. Before working on a thesis project, Lab students work on five “inquiries”— three-week intensives in which they investigate recent advances in culture, science and technology. Each inquiry is team-taught with researchers, experts, and industry leaders. Field track is structured so that students can develop the deep connections and direct engagement with people that social justice-centered work requires. This means before doing their thesis work, Field students spend two terms working with an external partner — a nonprofit, NGO or development agency. These partnerships are created in conjunction with Designmatters, Art Center’s College-wide concentration dedicated to addressing issues of social importance. Is this a big departure from recent years? The Lab track is a refinement of the curriculum we have been running, and is reflected in most of the work reproduced in this Viewbook. The Field track is the newest, though it’s built upon existing elements of our program. You could say it’s grown organically out of our DNA. So you have social impact design in your DNA? Definitely. When we first named our department Media Design in 2000, we launched Super Studio, a curriculum that included a yearlong, team-based project with an explicit social agenda — not dissimilar to
our current Field track. With Super Studio we developed unique approaches to both design research and to the design of tools for communication between technology, people and institutions. Also, because our students are always considering everything they do in the context of cultural and technological transformation, we’re already used to envisioning change, pursuing change and creating change. What’s different this time around? This time we’re working with Designmatters, which expands our reach considerably. We’ve also brought in new expertise to build out a critical approach to fieldwork and communication technology. The Field faculty team is anchored by design researcher Sean Donahue, who helped develop our approach to what we call “people-knowing.” Sean is joined by Elizabeth Chin, an award-winning anthropologist who brings a performative dimension to her fieldwork and, from the MIT Media Lab, Chris Csikzentmihalyi, a creative technologist with a strong track record in civic media. How does your method of working mesh with Designmatters? To do this kind of work, effective methods of research and outreach are critical. Designmatters’ commitment to a broad range of social issues combined with our ability to drill down in unique ways amounts to a really powerful union. Designmatters has been forging this now-significant area of art and design innovation during the past decade, and they have established many fruitful local and global partnerships. Art Center’s status as an NGO is perhaps the most distinguished result of their work, and speaks volumes to what they do — and what we can do together — but their boots-on-the-ground networks, and the awareness they’ve created is what’s most impressive to me. They’ve opened people’s eyes to new ways of thinking and doing. To me, that’s all about learning and meshes perfectly with the Media Design way, which is hands-on, project-based and open to discovery. What type of person might be drawn to the Field track? Applicants choose this track because they’re interested in social justice, or the relationships between technology, policy and people’s lives. It’s an amazing education for designers who are curious about technology and want to get out in the world and work one-on-one with people. Is the track open to people without a design background as well? Absolutely. That’s true for both our tracks. Many people come to design in a roundabout way, whether it’s a slow progression or an “aha!” moment. Since we’re interested in mixed perspectives, we welcome students from a wide range of backgrounds. These students take an extra year, a very concentrated first year that provides a sophisticated introduction to the basics of design.
ART CENTER VIEWBOOK 2013–2014
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Alumni Focus Julia Tsao 2009
Good stories do not just come from designs that solve problems. Instead, they come from design that instigates questions of the issues around us and creates dialogue between communities to further research. Those were the stories my peers and I pursued at Art Center.
Julia Tsao is the founder and creative director of independent design firm FAIR, LA. She directed an HTML-5 audiovisual experiment in collaboration with Nike and the Dazed and Confused, inspired by the Nike+ FuelBand activity tracking system. Most recently she worked as a Non-Traditional Creative at Wieden+Kennedy Portland, and is currently Director of Digital Design at Undefeated. Her work has been exhibited worldwide. TITLE FIELD, 2012 FIELD IS A HTML-5 AUDIOVISUAL THING INSPIRED BY NIKE+FUELBAND. FIELD WAS PRODUCED FOR NIKE AND DAZED DIGITAL, IN COLLABORATION WITH LABASED MUSIC PRODUCER NOSAJ THING AND SWEDISH INTERACTIVE STUDIO DINAHMOE.
Faculty
Program of Study
DEPARTMENT CHAIR
LAB
Anne Burdick FULL-TIME FACULTY
Elizabeth Chin Chris Csikszentmihalyi Sean Donahue Tim Durfee Ben Hooker Phil van Allen ADJUNCT FACULTY
Elise Co Shannon Herbert Garnet Hertz Justin Gier Luke Johnson Norman M. Klein Jennifer Krasinski Jane McFadden Mike Milley Christopher Morabito Thea Petchler Jennifer Rider Molly Wright Steenson Holly Willis VISITING CRITICS
Julian Bleecker Denise Gonzales Crisp Paul Dourish Rene Daalder Fred Dust John Kaliski Lust Tom Marble Steve Rowell Dmitri Siegel Mimi Zeiger
2-YEAR PATH
FIELD
MDP-507 Intro to Interaction Design 3 MDP-510 Dev Core MDP-581 Histories of the Future PRD-254 ID Graphics 1 PRD-249 Creative Strategies MDP-519 Colloquium
MDP-526 Field Core A MDP-527 Field Core B MDP-528 Field Core C MDP-535 Critical Frameworks 1 (Field) MDP-519 Colloquium
4 4 4
MDP-533 Field Projects 1 MDP-536 Critical Frameworks 2 (Field) 3 MDP-519 Colloquium
12
3-YEAR PATH
MDP-511 Lab Core A MDP-514 Lab Core B MDP-516 Lab Projects 1 MDP-518 Critical Frameworks 1 (Lab) MDP-519 Colloquium
4 4 3
MDP-531 Lab Projects 2 MDP-532 Critical Frameworks 2 (Lab) MDP-519 Colloquium
12
MDP-975 Summer X-Term
LAB
3 1
3 1 3
MDP-606 Lab Thesis 1 MDP-614 Critical Practices 1 (Lab) MDP-519 Colloquium
12
MDP-636 Lab Thesis 2 MDP-624 Critical Practices 2 (Lab)
12
Total Required Units
65
3 1
3
FIELD
2-YEAR PATH
3 3 3 3 1
MDP-522 Visual Narrative MDP-517 Transmedia Design MDP-502 Media History and Theory GPK-211 Motion Design 1 GPK-301 Information Design MDP-519 Colloquium
3 3
MDP-511 Lab Core A MDP-514 Lab Core B MDP-516 Lab Projects 1 MDP-518 Critical Frameworks 1 (Lab) MDP-519 Colloquium
4 4 3
3 3 3 1
3-YEAR PATH
3 1
1
MDP-619 Field Projects 2 MDP-616 Field Thesis 1 MDP-615 Critical Practices 1 (Field) MDP-519 Colloquium
6 6
MDP-626 Field Thesis 2 MDP-625 Critical Practices 2 (Field)
12
Total Required Units
63
3 1
MDP-507 Intro to Interaction Design MDP-510 Dev Core MDP-581 Histories of the Future PRD-254 ID Graphics 1 PRD-249 Creative Strategies MDP-519 Colloquium MDP-522 Visual Narrative MDP-517 Transmedia Design MDP-502 Media History and Theory GPK-211 Motion Design 1 GPK-301 Information Design MDP-519 Colloquium
3 3 3 3 3 1 3 3 3 3 3 1
MDP-526 Field Core A MDP-527 Field Core B MDP-528 Field Core C MDP-535 Critical Frameworks 1 (Field) MDP-519 Colloquium
4 4 4
MDP-531 Lab Projects 2 12 MDP-532 Critical Frameworks 2 (Lab) 3 MDP-519 Colloquium 1
MDP-533 Field Projects 1 MDP-536 Critical Frameworks 2 (Field) MDP-519 Colloquium
12
MDP-975 Summer X-Term
MDP-619 Field Projects 2 MDP-616 Field Thesis 1 MDP-615 Critical Practices 1 (Field) MDP-519 Colloquium
6 6
MDP-626 Field Thesis 2 MDP-625 Critical Practices 2 (Field)
12
Total Required Units
95
3 1
3
MDP-606 Lab Thesis 1 MDP-614 Critical Practices 1 (Lab) MDP-519 Colloquium
12
MDP-636 Lab Thesis 2 MDP-624 Critical Practices 2 (Lab)
12
Total Required Units
97
3 1
3
3 1
3 1
3 1
3
3
ART CENTER VIEWBOOK 2013–2014
Graduate Transportation Design Geoff Wardle Executive Director, Graduate Transportation Design
Art Center’s Graduate Transportation Design program, introduced in the Fall of 2012, offers two tracks for those with passion and fresh perspectives on the automotive industry and the wider field of transportation and personal mobility. The Vehicle Track encourages creativity and strategic thinking beyond the sketchpad to impact the vehicle manufacturing industry. The Transportation Systems track applies design thinking to create better transportation solutions at a systems level, rather than at a product level. Because design brings value well beyond the areas of product and service
This is a new program designed for those who will redefine what compelling, sustainable and viable transportation and mobility solutions will be for an inspired future. development, our curriculum encompasses a combination of design methodology, strategic innovation, systems thinking, customer-driven research and superior communication skills. The program’s community of students — with prior degrees in subjects such as design, architecture, urban planning, business administration, engineering, anthropology and economics — brings diverse perspectives and precipitates the transdisciplinary culture that will be essential for advancing transportation design over the coming decades. This innovative course of study will equip degree candidates to become agents of change across a broad transportation landscape, from design studios and manufacturers to organizations responsible for planning, implementing and delivering transportation systems solutions at the national, state and local levels.
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Q&A Geoff Wardle Executive Director, Graduate Transportation Design
What does this new Graduate Transportation Design program offer students? Quite simply, a chance to participate in determining and designing a more innovative future of transportation. By approaching transportation design holistically through systems thinking, the work we do here aims to influence the definition of more compelling and sustainable personal mobility systems and inspired vehicles for moving people and goods within those systems. Those are lofty goals. Yet entirely realistic ones. By the time our students graduate, I’m confident they will be equally comfortable proposing ideas and solutions not just to the design community, but to senior levels of automotive corporate management, to city or community planners, and even to national policy makers if that’s where they find themselves. So where does it all start? Entering students will decide on one of two curricular directions, choosing either the Vehicle Track or the Systems Track. Those who opt for the Vehicle Track will likely arrive with an undergraduate degree in Transportation Design already under their belt, and will probably be looking to enter or reenter the vehicle industry in the sphere of product development. Those who choose the Systems Track will be more interested in regarding transportation from a holistic viewpoint, not specifically designing vehicles or products to move people or goods around, but rather looking at designing transportation systems. How does the Graduate Vehicle Track differ from an undergraduate approach to transportation design? Students coming out of a top-tier transportation design program like Art Center’s will unquestionably know how to design a vehicle or product already. Through their undergraduate work they will have become proficient, even expert at creating and presenting professional-level work, to the point where they will be ready to make an immediate frontline contribution to any company, as so many of our graduates do. The questions that become paramount here, then, go beyond the shape of fender flares or whether the headlamps recall a cat’s eyes. They are the questions that leaders of the transportation industries consider: Why should we make this vehicle? How does it fit into our product range? What does it do for our brand image? What value does it create for our consumer, and for us? Where does it take us as a company, and as a corporate citizen of the world?
Also, at the undergraduate level, the constraints of time and facilities require that students focus on solutions that are only assumed to work. In our program, students will be expected to experiment and investigate more deeply to prove that concepts do work. If, for example, a group of students come up with an idea for a new kind of small electric, urban mobility device, they should mock it up and see whether it works — or not, as the case may be. In an academic environment, discovering why something doesn’t work can be as educationally valuable as proving that it does. And if it does, the next time our friends from Honda or Ford or Polaris, for instance, visit our campus, they’ll have something revolutionary to zip around the parking lot in! What about the Systems Track? Whereas the vast majority of Vehicle Track applicants will probably have a prior transportation design degree, the Systems Track will appeal equally to design-oriented students and professionals with degrees in different fields — engineering, urban planning, public policy, industrial design, even business. Systems Track students might look at how new forms of rapid transit integrate into the urban environment, or consider the future of local freight delivery systems — moving food or manufactured goods the last 10 or 15 miles of a potentially transcontinental trip. They might focus on research into the future of transportation technology, or local or national transportation infrastructure. But they will still learn to visualize and articulate solutions to transportation and transportation design challenges. Is research an emphasis of the graduate program? To whatever extent our students desire it to be, yes, and we encourage academic or theoretical pursuits. We’re in the process of developing a TransLAB — a cooperative, multi-institutional, transdisciplinary research facility to examine crucial issues in the global pursuit of transportation design solutions. We envision TransLAB as something of an educational clearinghouse for relevant research among currently disparate institutional agencies and institutions. Moreover, through TransLAB, students and faculty alike will be able to devote themselves to in-depth pursuit of their own areas of interest within this, and related, fields — either as a part of or supplemental to their program of study. Ultimately, where do you see your graduates working? Beyond the automotive industry, where the value of advanced transportation design thinking is obvious, we hope to see our graduates in a broad range of organizations and professions — urban planning, transportation engineering, environmental and alternative energy companies or consultancies, to name a few. That design thinking can play a productive and prominent role in almost any industry is fast becoming a new paradigm, and our program will help fill the need for that unique perspective across a spectrum of enterprises.
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ARTCENTER.EDU/GRADTRANS
TITLE ROUTEMASTER 2012 / STUDENT GABRIEL WARTOFSKY CLASS SENIOR THESIS / INSTRUCTORS MAREK DJORDJEVIC & DAVE HACKETT / PROGRAM TRANSPORTATION DESIGN
TITLE RAYMOND HILL 2034: URBAN ECOLOGY AND THE SELF-SUFFICIENT NEIGHBORHOOD / STUDENT MATTHEW R. CUNNINGHAM / CLASS ADVANCED DESIGN INSTRUCTOR MARK GOERNER / PROGRAM TRANSPORTATION DESIGN
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STUDENT CHRISTOPHER STEVENS / CLASS LIGHTWEIGHT VEHICLE CONCEPT STUDIO / INSTRUCTORS DAVID O’CONNELL, GAZA LOCZI, GABRIEL WARTOFSKY, CANDICE-LEIGH BAUMGARDNER & PAMELA BLACKWELL / PROGRAM TRANSPORTATION DESIGN
STUDENT ANDREAS JUCABEK / CLASS LIGHTWEIGHT VEHICLE CONCEPT STUDIO / INSTRUCTORS DAVID O’CONNELL, GAZA LOCZI, GABRIEL WARTOFSKY, CANDICE-LEIGH BAUMGARDNER & PAMELA BLACKWELL PROGRAM TRANSPORTATION DESIGN
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STUDENT CHAN PARK / CLASS LIGHTWEIGHT PERSONAL MOBILITY DEVICE INSTRUCTOR BUMSUK LIM / PROGRAM TRANSPORTATION DESIGN
Faculty
Program of Study
EXECUTIVE DIRECTOR
GRADUATE TRANSPORTATION DESIGN — SYSTEMS
Geoff Wardle FACULTY
Candice-Leigh Baumgardner Katherine Bennett Pamela Blackwell Parker Fredlund Maggie Hendrie Tim Huntzinger Lucian Rosca Mark Shumate Pascual Wawoe
TERM 1 TRN-500 Vehicle & Transportation Product Development 1 TRN-501 Introduction to User Interface Design 1 TRN-502 Vehicle & Transportation Technology 1 TRN-503 Customer Centered Research 2 TRN-504 Transportation Histories & Futures Part 1 2 TRN-560 Visual Communications 3 TRN-561 Systems Design Studio Part 1 3 TRN-562 Digital Skills 3 TERM 2 TRN-511 User Interface Design Studio Part 1 TRN-512 Future Scenarios Development TRN-513 Professional Development & Strategic Presentation TRN-514 Transportation Histories & Futures Part 2 TRN-515 Product Development & Manufacturing Technology TRN-570 Visual Communication & Digital Skills TRN-571 Advanced Systems Design Studio Part 2
3 1
2 1
TERM 3 TRN-521 User Interface Design Studio Part 2 3 TRN-522 Design Strategy Studio 3 TRN-523 Professional Presentation 3 TRN-580 Strategic Systems Design Studio Part 1 3 TRN-581 Business & Politics of Delivering Transportation 1 TRN Electives 3 TERM 4 TRN-601 Thesis Project Preparation TRN-661 Strategic Systems Design Studio Part 2 TRN Electives TERM 5 TRN-611 Thesis Development Studio TRN Electives TERM 6 TRN-615 Business & Product Development Studio TRN-621 Thesis Development Studio TRN Electives
3 6 3
6 6
3 6 3
1 Total Required Units 3 3
82
GRADUATE TRANSPORTATION DESIGN — VEHICLE
TERM 1 TRN-500 Vehicle & Transportation Product Development 1 TRN-501 Introduction to User Interface Design 1 TRN-502 Vehicle & Transportation Technology 1 TRN-503 Customer Centered Research 2 TRN-504 Transportation Histories & Futures Part 1 2 TRN-530 Visual Communications 3 TRN-531 Concept Design Studio Part 1 3 TRN-532 Digital Skills 3 TERM 2 TRN-511 User Interface Design Studio Part 1 TRN-512 Future Scenarios Development TRN-513 Professional Development & Strategic Presentation TRN-514 Transportation Histories & Futures Part 2 TRN-515 Product Development & Manufacturing Technology TRN-540 Visual Communication & Digital Skills TRN-541 Advanced Concept Design Studio Part 2
3 1
2 1
TERM 3 TRN-521 User Interface Design Studio Part 2 TRN-522 Design Strategy Studio TRN-523 Professional Presentation TRN-550 Strategic Prototype Design Studio Part 1 TRN-551 Business of the Vehicle Industry TRN Electives TERM 4 TRN-601 Thesis Project Preparation TRN-631 Strategic Prototype Design Studio Part 2 TRN Electives TERM 5 TRN-611 Thesis Development Studio TRN Electives TERM 6 TRN-615 Business & Product Development Studio TRN-621 Thesis Development Studio TRN Electives
3 3 3 3 1 3
3 6 3
6 6
3 6 3
1 Total Required Units
82
3 3
ART CENTER VIEWBOOK 2013–2014
220 THE GREEN ROOF AT ART CENTER’S LEED-CERTIFIED (LEADERSHIP IN ENERGY AND ENVIRONEMNTAL DESIGN) SOUTH CAMPUS.
Art Center
ARTCENTER.EDU
A Academic Information Admissions Undergraduate Deadlines and notifications Requirements Your Choice of Major Graduate Notifications Requirements Counseling Appointments Advertising, undergraduate Program of Study Arrivals and Housing Art, graduate Program of Study Art Center at Night Artmatters Concentration
146 137-147 141 137-141 142 150-156 155 150-155 137, 150 26-35 35 144, 156 158-167 167 138 21
B Broadcast Cinema, Graduate Program of Study
168-177 177
C Calendar, academic Career Development Center for the Student Experience Course load
148-149 147 15, 144 146
D Deferrals Designmatters Concentration Disabled students
142, 155 18-20 146
E English proficiency Entertainment Design, undergraduate Program of Study Environmental Design, undergraduate Program of Study Environmental Design, graduate Program of Study
143, 150 36-45 45 46-55 55 178-187 187
F Facilities and Resources 147 Family Education Rights and Privacy Act 146 Fees 145, 155 Film, undergraduate 56-65 Program of Study 65 Financial Aid 145, 156 Deadlines 145-146, 156 Fine Art, undergraduate 66-75 Program of Study 75 G Graduate Programs Graduation rates Graduation requirements Grants Graphic Design, undergraduate Program of Courses H Health Insurance High School students Housing Humanities and Sciences
157-220 146 150 145-146 76-85 85 145 188 144 142, 144
I Illustration, undergraduate Program of Study Industrial Design, graduate Program of Study Integrated Studies Interaction Design, undergraduate Program of Study International students
86-95 95 188-197 197 142 96-105 105 143, 145
L Living expenses Loans
145 145, 156
M Media Design, Practices, graduate Program of Study
198-209 209
N Nondiscrimination policy O Orientation
146 144, 156
P Photography and Imaging, undergraduate 106-115 Program of Study 115 Portfolio requirements Undergraduate 138-141 Graduate 150-155 Portfolio return 141, 155 Product Design, undergraduate 116-125 Program of Study 125 Public Programs 138 R Readmission Registration, new students
142 144, 156
S Saturday High Schedules Scholarships 145-146, Special Non-Degree Student Status Student Affairs 15, Studio Art Credit Supplies, budgeting for T Tours Transfer students Transportation Design, undergraduate Program of Study Transportation Design, graduate Program of Study Tuition Deposit
138 146 156 143 144 144 145
137 143 126-135 135 210-219 135 145, 155 142, 155
V Veterans
143
W Work Study
145
PUBLISHED BY THE DEPARTMENT OF MARKETING AND COMMUNICATIONS CHAIRMAN OF THE BOARD OF TRUSTEES: ROBERT C. DAVIDSON JR. PRESIDENT: LORNE M. BUCHMAN SENIOR VICE PRESIDENT, DEVELOPMENT AND EXTERNAL AFFAIRS: ARWEN DUFFY ASSOCIATE VICE PRESIDENT, MARKETING AND COMMUNICATIONS: WENDY SHATTUCK DIRECTOR OF COMMUNICATIONS: TERI BOND CREATIVE DIRECTOR: SCOTT TAYLOR DIRECTOR OF PRODUCTION: ELLIE EISNER CREATIVE DIRECTION & DESIGN: WINNIE LI GRPH 92, ART DIRECTOR/SENIOR DESIGNER, DESIGN OFFICE; SIMON JOHNSTON, DIRECTOR OF PRINT, GRAPHIC DESIGN DEPARTMENT DESIGNERS: ANDREA CARRILLO GRPH 11, ELIANA DOMINGUEZ GRPH 06 PRODUCTION DESIGNER: AUDREY KRAUSS PHOTOGRAPHER: LIBERO “TONY” DI ZINNO PHOT 89 EDITORIAL DIRECTION AND WRITTEN CONTENT: ALEX CARSWELL EDITORIAL ASSISTANCE: JERED GOLD, CHRISTINE HANSON, MIKE WINDER ADDITIONAL PHOTOGRAPHY AND IMAGE CREDITS/ COPYRIGHT: PAGE 10: JON HICKS/CORBIS // PAGES 22, 23, 36, 56, 66, 86, 136: STEVEN A. HELLER // PAGE 64: © 2011 PARAMOUNT PICTURES CORPORATION // PAGE 84: JESSE CHEHAK, COURTESY OF WIRED // PAGE 2009 WARNER BROS. 126: JUAN POSADA // PAGE 176: © ENTERTAINMENT, INC. ALL RIGHTS RESERVED // PAGE 220: ALEX ARISTEI. FONTS: AKKURAT MONO, APERÇU, MONOTYPE GROTESQUE PAPER: GRUPPO CORDENONS ASTROSILVER COVER, ELEMENTAL CHLORINE-FREE AND RECYCLABLE; CTI PAPER USA BINDAKOTE CS1 TEXT, FSC CERTIFIED, ELEMENTAL CHLORINE-FREE AND RECYCLABLE; NEENAH PAPER ASTROBRIGHTS TEXT, FSC CERTIFIED. PRINTER: CLEAR IMAGE PRINTING CO., GLENDALE, CA 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. ART CENTER FACULTY RESPOND QUICKLY TO CHANGES IN TECHNOLOGY AND INNOVATIONS WITHIN SPECIFIC DESIGN DISCIPLINES; THEREFORE, PROGRAMS OF STUDY ARE SUBJECT TO CHANGE AT ANY GIVEN TIME.
© 2012 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.
THE GREEN ROOF AT ART CENTER’S LEED-CERTIFIED (LEADERSHIP IN ENERGY AND ENVIRONEMNTAL DESIGN) SOUTH CAMPUS.
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