Art Center Viewbook 2013-2014

ART CENTER VIEWBOOK 2013–2014

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Why Art Center?President’s Message

AdvertisingEntertainment DesignEnvironmental DesignFilmFine ArtGraphic DesignIllustrationInteraction DesignPhotography and ImagingProduct DesignTransportation Design

Undergraduate Admissions2012–14 Academic CalendarArt Center at a GlanceGraduate Admissions

Graduate StudiesArtBroadcast CinemaEnvironmental DesignIndustrial DesignMedia Design PracticesTransportation Design


Why

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Learn to create.

Influence change.

More than 80 years ago, our first president, Edward “Tink” Adams, and his colleagues pioneered a rigor-ous 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 techno-logical innovation to social change, the creative mind leads the way. At Art Center, we help you harness the power of your unique vision.

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Bachelor of Science

Entertainment DesignEnvironmental DesignInteraction DesignProduct DesignTransportation Design

Bachelor of Fine Arts

AdvertisingFilmFine ArtGraphic DesignIllustrationPhotography and Imaging

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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.

Find your focus.

Challenge yourself.


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A complete education.

A limitless horizon.

For more information on these programs, see pages 138, 142–44.

As you pursue excellence in your major, your course-work 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.

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

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 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

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Graduate diversity.

Professional growth.

At Art Center, you discover an innovative and cre-atively charged atmosphere for pursuing academic and professional growth. Our divergent Graduate programs together comprise an exceptional oppor-tunity 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.

Master of Science

Environmental DesignIndustrial DesignTransportation Design

Master of Fine Arts

ArtBroadcast Cinema (Film)Media Design Practices

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Local opportunities.

Global possibilities.

© JON HICKS/CORBIS

Los Angeles is one of the most creative environ-ments 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.

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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.

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Abundant resources.

Vital connections.

For more on Student Affairs and Career Development, see pages 144 and 147.

Art Center provides a remarkable collection of both traditional and leading-edge facilities — from print-making 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 work-shops, employment networks and on-campus portfolio review and recruitment by many leading studios and design firms.

Art Center students are some of the best and most talented creatives

in the world, and we offer an education that helps students develop

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

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You know who you are.

Discover what you can become.

You arrive here with a commitment to your creative passions. How you fulfill that commitment will influ-ence 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.

Why

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PROJECT SAFE AGUA 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

Where art and design education meets social change.

Through Designmatters, we aspire to redefine and expand the

role of the artist and designer into one that is a catalyst for

social innovation.

Mariana Amatullo Vice President, Designmatters Department

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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 art-ists 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.

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

are problem solvers. Involving creative

minds and problem solvers in any social

entrepreneurial project opens up the

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 ES TIEMPO

CHALLENGE CREATE WAYS TO PERSUADE LATINAS IN UNDER-SERVED 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

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

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.

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Designmatters 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.

Artmatters Concentration

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 prac-tices 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


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Sponsored Projects

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 collabo-rations 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.

Educational Partnerships

Art Center is forging educational partnerships that create unique opportuni-ties 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.

Collaborations and Partnerships

Sponsored Projects are a crucial way to get experience designing

for real-world clients. The process resulted in great portfolio

pieces and helped me develop my skill sets and build a network of

industry contacts.

Alexandar Alexiev Transportation Design, Term 7Project Sponsors: BMW, Roberto Cavalli, Clemson University (Engineering)

The true benefit of the INSEAD experience comes from engaging

oneself in the culture of others — an immersion in a totally

different way of thinking.

Jason Sun Product Design, Term 8


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Why Art Center?

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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


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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

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

Advertising

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.


TITLE COBRA / STUDENT JONATHAN WHITEHEAD / TERM 5

CLASS AD LAB 1 / INSTRUCTORS BLAKE KIDDER & PATRICK ALMAGUER

ARTCENTER.EDU/ADVERTISING

TITLE TIDE TO GO / STUDENT JESSE YOWELL / TERM 6

CLASS SHOOTSELL / INSTRUCTORS MEL SANT & STEPHEN SWENTEK

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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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ART CENTER VIEWBOOK 2013–2014Program of Study

TITLE NEOSPORIN AD CAMPAIGN / AWARD GOLD ADDY


TERM 1GPK-151 Typography 2: Structure 3HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3CUL-203 History of Advertising 3INT-102 Design 1 GPK/ILL/ADT 3ADT-109 Communication Design 1 3

TERM 2 PRP-200 Art of Research 3ADT-152 Art Direction 1 3ADT-203 Visual Concepts 3ADT-302 Creative Process 3ADT-150 2nd Term Review 0INT-155 Language of the Moving Image 3CUL-220 Intro to Modernism 3

TERM 3 CUL-235 Critical Practice 1 3GPK-222 Communication Design 3: Narrative 3ADT-252 Art Direction 2 3ADT-201 Advertising Concepts 1 3INT-108 Basics of Photo OR INT-161 Narrative Imaging 3GPK-155 Interactive Design & Development 1 3

TERM 4 PRP-229 Branding Strategies 3GPK-332 Communication Design 4: Transmedia 3ADT-251 Advertising Concepts 2 3 ADT-253 Copywriting 1 3ADT-254 Digital Narrative 3ADT-250 4th Term Review 0

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

TERM 6 ADT-351 Advertising Lab 1 3ADT-352 Copywriting 2 3ADT-350 6th Term Review 0

TERM 7 ADT-401 Advertising Lab 2 3

TERM 8 ADT-452 Portfolio Studio 3ADT-451 Advertising Lab 3 3

ADDITIONAL REQUIREMENTSStudio Electives 18Humanities & Sciences Electives: Human 6 Culture 6 Material Environment 6 Professional Practice 6 Human, Culture, Material Environment OR Professional Practice 3

Total Required Units 135

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.

Alumni Focus

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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.


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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

The concept artist creates the visuals we see in films, video games, animation, commercials, TV shows and theme parks, executing every-thing from environments and architecture to character and hardware.

Tim Flattery Department Chair

Entertainment Design

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.


TITLE HUNGARIAN AIRFORCE GUNSHIP / STUDENT NOEL EKKER

TERM 4 / CLASS VISCOM 4 / INSTRUCTOR FABIAN LACEY

ARTCENTER.EDU/ENTERTAINMENT

TITLE PARANOIA / STUDENT MARK YANG / TERM 8

CLASS SENIOR PROJECT / INSTRUCTOR TIM FLATTERY

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 AERIAL SCOUTS / STUDENT ANNIS NAEEM / TERM 6

CLASS PERSONAL PROJECT / PUBLISHER DESIGN STUDIO PRESS

TITLE LAUNCH-PAD / STUDENT ANNIS NAEEM / TERM 5

CLASS PERSONAL PROJECT / PUBLISHER DESIGN STUDIO PRESS

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TITLE QUEEN (THE WINDUP GIRL) / STUDENT CLARA MOON

TERM FINAL (10) / CLASS SENIOR PROJECT

INSTRUCTOR TIM FLATTERY


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(TOP) TOTAL RECALL 2012 HERO CAR

(BOTTOM) FUTURISTIC ELECTRIC MOTORCYCLE TO BE

PUBLISHED IN RIDE (DESIGN STUDIO PRESS, 2013)


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.

Alumni Focus

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TERM 1HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3IDF-102 Viscom Fundamentals 1 3IDF-103 3D Fundamentals 1 3IDF-111 Design Process 1 3IDF-113 Study Models 2IDF-114 Way Things Work 2INT-112 Design Fundamentals 1 3

TERM 2PRP-201 Art of Research OR PRP-200 Art of Research 3INT-100 Digital Design 1 3INT-165 Design Fundamentals 2 3IDF-151 Design Process 2 3IDF-152 Viscom Fundamentals 2 3IDF-153 3D Fundamentals 2 3

TERM 3CUL-220 Intro to Modernism 3ENT-200 3rd Term Review 0ENT-201 Creative ID Process 3ENT-202 VC3: Photoshop Rendering 3ENT-203 Analytical Figure Drawing 3ENT-206 Advanced Perspective 3

TERM 4ENT-207 Imaginatomy 3ENT-251 VC4: Advanced Material Indication 3ENT-254 Costume Design 3ENT-259 Digital Landscape 3CUL-235 History of Entertainment Design 3

TERM 5ENT-306 Color Theory for Entertainment 3ENT-310 Character Design 1 3ENT-312 Architecture Design 1 3ENT-320 VC5: Figure Rendering 3HMN-321 Narrative Strategies 3MAT-205 Theory of Structure 3

TERM 6ENT-350 6th Term Portfolio Review 0ENT-356 Visual Development 3ENT-364 VC6: Dramatic Narrative 3ENT-366 Architecture Design 2 3ENT-367 Character Design 2 3HMN-202 Human Factors & Design Psychology 3

TERM 7ENT-400 Modo, Speed & Advanced Rendering Techniques 3ENT-402 Vehicles & Props 3ENT-406 Originality in Design 3ENT-409 Visual Storytelling 3PRP-203 Business 101 3

TERM 8ENT-450 Advanced Entertainment Design 3ENT-471 Entertainment Senior Projects 3

ADDITIONAL REQUIREMENTSStudio Electives 2Humanities & Sciences Electives: Human 3 Culture 3 Material Environment 9 Professional Practice 6


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.


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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

Environmental Design is a human-centered discipline that spans the creative process across spatial, object and sensorial interaction.

David Mocarski Department Chair

Environmental Design

Environmental Design focuses on the total spatial experi-ence — 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 his-tory, 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.


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TITLE DREAM / STUDENT MAIWEN MAY LIU / TERM 4

CLASS EXPERIENCE DESIGN / INSTRUCTOR EMIL MERTZEL

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


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(LEFT TO RIGHT) TITLE FIN LAMP / STUDENT EVAN LIAO / TERM 6

TITLE LULLA ROCKER / STUDENT MELISSA LEE / TERM 6

TITLE BACK TO BASICS / STUDENT STEVE OH / TERM 7

CLASS TOPIC STUDIO FURNITURE / INSTRUCTORS DAVID MOCARSKI & CORY GROSSER

TITLE MEHN / STUDENT LEIGH ANNE KOBE / TERM 8

CLASS SENIOR STUDIO / INSTRUCTOR JAMES MERAZ

TITLE STEAM / STUDENT EVAN LIAO / TERM 5

CLASS EXPERIENCE DESIGN: MICRO BOUTIQUE HOTEL

INSTRUCTOR EMIL MERTZEL


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TITLE EASE CHAIR / STUDENT SUE CHUNG / TERM 6

CLASS TOPIC STUDIO FURNITURE / INSTRUCTORS DAVID MO-

CARSKI & CORY GROSSER

TITLE AUGENGLASER IC / STUDENT JOHN D. CLARK

TERM 2 / CLASS ENVIRONMENTAL 2 / INSTRUCTORS DAN GOTTLIEB

& PENNY HERSCOVITCH


TITLE ELLE LOUNGE AND OTTOMAN, 2009

ARTCENTER.EDU/ENVL

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.

Alumni Focus

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

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

TERM 3ENV-201 Digital Process 3 3ENV-202 Environmental Design 3 3ENV-204 Design Lab 3 3ENV-205 Color, Material & Concept 3ENV-295 Visual Communication 3 3ENV-200 3rd Term Review 0CUL-206 History and Theory of Space 3

TERM 4ENV-251 Digital Process 4 3ENV-252 Environmental Design 4 3ENV-253 Structure-Interior Architecture 3ENV-271 Design Lab 4 3CUL-220 Intro to Modernism 3MAT-203 Illumination: Lighting 3

TERM 5ENV-254 Sustainability Studio 3ENV-302 Portfolio Studio 3ENV-310 Topic Studio 3MAT-205 Theory of Structure 3MAT-254 Sustainable Building Practices for Environmental 3 Transdisciplinary Studio 3

TERM 6ENV-310 Topic Studio 3ENV-311 Digital Process 5 3ENV-352 Experience Design 3ENV-300 6th Term Review 0CUL-341 History and Theory of Space 3

TERM 7ENV-310 Topic Studio (Take 2 Times) 6ENV-404 Degree Project: Development 3HMN-202 Human Factors & Design Psychology 3

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


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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

Film

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: filmmak-ers 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 post-production 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 understand-ing 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.


ARTCENTER.EDU/FILM

TITLE ONE BAD THING / WRITER & DIRECTOR DOMENIC MOEN

PRODUCER JAKE VIRAMONTEZ / CLASS FILM PRODUCTION WORKSHOP

INSTRUCTOR ERIC SHERMAN

TITLE THE LEVI BROTHERS / DIRECTOR MIKE REYES

AWARD 2011 ADDY AWARD

TITLE THE DEAL / DIRECTOR SAMUEL GONZALEZ

CLASS DIRECTING 3 / INSTRUCTOR DAVID KELLOGG

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058

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Film


ARTCENTER.EDU/FILM

TITLE INFERNUM / DIRECTOR TED MARCUS

TITLE VOICES FROM THE FIELD / DIRECTOR JOHN CAREY

AWARD SHORTLISTED FOR CANNES YOUNG DIRECTORS AWARD

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060

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Film


ARTCENTER.EDU/FILM

TITLE DEAD GRANDMA WEB SERIES

DIRECTOR WILL KINDRICK

TITLE HOW DO WEBSITES WORK? / DIRECTOR ERIK SCANLON

FEATURED GODADDY.COM COMMERCIAL CONTEST / AIRED ON ABC,

NBC, FOX, ESPN & TNT

TITLE AEXIS / DIRECTOR ERIC CHANG

CINEMATOGRAPHER HUGH RYAN MCDONALD

AWARD 2012 ASC STUDENT HERITAGE AWARD

062

063

Film

Film


TITLE TRANSFORMERS: DARK OF THE MOON

COURTESY OF PARAMOUNT PICTURES

ARTCENTER.EDU/FILM

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.

Alumni Focus

Film

065

Film

064

CORE TRACKTERM 1HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3FIL-107 Intro to Post Production 3FIL-110 Cinematography 1: Fundamentals 1 3FIL-153 Film Directing 1 3FIL-006 CPR & 1st Aid Cert Workshop 0INT-101 Design 1 FILM OR INT-103 Design 1 PHO/FAR 3INT-108 Basics of Photo 3

TERM 2CUL-220 Intro to Modernism 3FIL-154 Film Editing 1 3FIL-155 Acting Workshop for Directors 3FIL-156 Screenwriting 1 3FIL-157 Cinematography 2: Fundamentals 2 3FIL-205 Storyboarding for Filmmakers 3

TERM 3CUL-235 Critical Practice 1 3FIL-203 Film Directing 2 3FIL-204 Film Production Sound 3FIL-161 Cinematography Tech Training 3FIL-208 Directing 2, Tech Training 0FIL-211 Screenwriting 2 3FIL-254 Film Editing 2 3

TERM 4CUL-211 History of Cinema 1 OR CUL-212 History of Cinema 2 3PRP-155 Business Affairs for Filmmakers 3FIL-253 Film Directing 3 3FIL-281 Post Production Sound 3

TERM 5FIL-317 Pitching 3FIL-318 Line Producing & Professional Film Production 3

TERM 6Transdisciplinary Studio 3

TERM 7Studio or HDS Electives




EDITING TRACKTERM 1HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3FIL-107 Intro to Post Production 3FIL-110 Cinematography 1: Fundamentals 1 3FIL-153 Film Directing 1 3FIL-006 CPR & 1st Aid Cert Workshop 0INT-101 Design 1 FILM OR INT-103 Design 1 PHO/FAR 3INT-108 Basics of Photo 3

TERM 2CUL-220 Intro to Modernism 3FIL-154 Film Editing 1 3FIL-155 Acting Workshop for Directors 3FIL-156 Screenwriting 1 3INT-100 Digital Design 1 3FIL-205 Storyboarding for Filmmakers 3

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

TERM 4CUL-211 History of Cinema 1 OR CUL-212 History of Cinema 2 3PRP-155 Business Affairs for Filmmakers 3FIL-253 Film Directing 3 3 FIL-257 Film Editing 3: Advance Film Editing 3FIL-281 Post Production Sound 3

TERM 5FIL-318 Line Producing & Professional Film Production 3






CINEMATOGRAPHY TRACKTERM 1HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3FIL-107 Intro to Post Production 3FIL-110 Cinematography 1: Fundamentals 1 3FIL-153 Film Directing 1 3FIL-006 CPR & 1st Aid Cert Workshop 0INT-101 Design 1 FILM OR INT-103 Design 1 PHO/FAR 3INT-108 Basics of Photo 3

TERM 2CUL-220 Intro to Modernism 3FIL-154 Film Editing 1 3FIL-155 Acting Workshop for Directors 3FIL-156 Screenwriting 1 3FIL-157 Cinematography 2: Fundamentals 2 3FIL-205 Storyboarding for Filmmakers 3

TERM 3CUL-235 Critical Practice 1 3FIL-203 Film Directing 2 3 FIL-161 Cinematography Tech Training 3FIL-208 Directing 2, Tech Training 0FIL-210 Aesthetics Cinematography: Color & Composition 3

TERM 4CUL-211 History of Cinema 1 OR CUL-212 History of Cinema 2 3PRP-155 Business Affairs for Filmmakers 3FIL-253 Film Directing 3 3 FIL-260 Lighting for Cinematography 3

TERM 5FIL-318 Line Producing & Professional Film Production 3






Michael Bay is considered one of Hollywood's boldest and most bank-able 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.


067

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’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

Fine Art

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 program-ming 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.


ARTCENTER.EDU/FINEART

TITLE INSTALLATION, 2012 / STUDENT CINDY PARRA

TERM 7 / CLASS INDEPENDENT STUDY

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068

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Fine

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TITLE UNTITLED, 2012 / STUDENT SOYOUNG KWON

TERM 8 / CLASS SENIOR PROJECTS 1/2

TITLE WALL PERFORMANCE, 2011 / STUDENT ANGELA CIONCIOLO

TERM 4

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070

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Fine

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TITLE UNTITLED / STUDENT JASON MEADOWS / TERM 6

CLASS INDEPENDENT PROJECT

Fine

Art

073

Fine

Art

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TITLE UNTITLED, 2011 / STUDENT SHANA DIMASE / TERM 8

CLASS SENIOR PROJECTS 1/2

TITLE PLUNGER, 2012 / STUDENT SOYOUNG KWON / TERM 8

CLASS SENIOR PROJECTS 1/2


TITLE 11-006 / MEDIUM OIL AND ALKYD ON CANVAS

SIZE 24" X 12"

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.

Alumni Focus Program of StudyARTCENTER.EDU/FINEART

Fine

Art

075

Fine

Art

074 Artist Richard Galling utilizes specific art historical and pop cultural references

to posit a consideration of the contemporary through painting.

CORE PROGRAMTERM 1HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3FAR-101 Rethinking Art 1 3INT-103 Design 1 PHO/FAR 3ILL-113 Drawing Concepts 1 3INT-158 Materials of Art & Design 3FAR-304 Painting Strategies 3FAR-305 One on One 1

TERM 2CUL-220 Intro to Modernism 3INT-101 Digital Design 1 3INT-152 Design 2: Structure & Color 3FAR-202 Studio Practice 3FAR-152 Studies-Contemporary Sculpture 3FAR-305 One on One 1

TERM 3CUL-235 Critical Practice 1 3FAR-253 Installation Concepts 3FAR-204 Art: Structure & Systems 3INT-108 Basics of Photo OR INT-161 Narrative Imaging 3INT-155 Language of the Moving Image 3FAR-154 Drawing as Process 3FAR-305 One on One 1

TERM 4CUL-207 History of Art 1; CUL-208 History of Art 2; OR CUL-209 History of Art 3 3FAR-252 Visiting Artist Workshop 1 OR FAR-352 Dialogues with Visiting Artists 3FAR-451 Contemporary Issues 3FAR-200 Defining Your Work 3Advance Critical Practice 3

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

TERM 6HMN-327 Writing About Art 3FAR-352 Dialogues with Visiting Artists OR FAR-252 Visiting Artist Workshop 3FAR-403 Fine Art Seminar 3

TERM 4CUL-207 History of Art 1; CUL-208 History of Art 2; OR CUL-209 History of Art 3 3INT-155 Language of the Moving Image 3PHO-312 Design 2: Color Theory 3FAR-200 Defining Your Work 3FAR-205 Art & Photography 3

TERM 5HMN-324 Readings in Fine Art 3FAR-300 5th Term Review 3Transdisciplinary Studio 3Advance Critical Practice 3

TERM 6HMN-327 Writing About Art 3CUL-216 History of Photo 1 OR CUL-218 History of Photo 2 3FAR-351 Studio Visits 1 3FAR-352 Dialogues with Visiting Artists OR FAR-252 Visiting Artist Workshop 3FAR-403 Fine Art Seminar 3FAR-240 Given Time 3

TERM 7FAR-402 Senior Projects 2 3

TERM 8FAR-452 Senior Projects 2 3FAR-453 Senior Projects 3: Professional Practice 3



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

TERM 6HMN-327 Writing About Art 3FAR-352 Dialogues with Visiting Artists 1 OR FAR-252 Visiting Artist Workshop 3FAR-403 Fine Art Seminar 3


TERM 8FAR-452 Senior Projects 2 3FAR-453 Senior Projects 3: Professional Practice 3Transdisciplinary Studio 3



PHOTOGRAPHY AND IMAGING MINORTERM 1HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3FAR-101 Rethinking Art 1 3INT-103 Design 1 PHO/FAR 3PHO-161 Imaging 1 3PHO-221 Advance Photographic Processes 3FAR-305 One on One 1

TERM 2CUL-220 Intro to Modernism 3PHO-160 Core Lighting 3PHO-107 View Camera 3PHO-211 Imaging 2 3FAR-202 Studio Practice 3PHO-222 Advance Photographic Processes 2 3FAR-305 One on One 1

TERM 2CUL-235 Critical Practice 1 3FAR-204 Art: Structure & Systems 3PHO-319 Imaging 3 3PHO-257 Color 3FAR-305 One on One 1


TERM 8FAR-452 Senior Projects 2 3FAR-453 Senior Projects 3: Professional Practice 3



PAINTING AND ILLUSTRATION MINORTERM 1HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3FAR-101 Rethinking Art 1 3INT-103 Design 1 PHO/FAR 3ILL-113 Drawing Concepts 1 3INT-158 Materials of Art & Design 3FAR-304 Painting Strategies 3FAR-305 One on One 1

TERM 2CUL-220 Intro to Modernism 3INT-101 Digital Design 1 3INT-152 Design 2: Structure & Color 3ILL-153 Composition & Painting 3ILL-208 Composition & Drawing 3FAR-202 Studio Practice 3FAR-305 One on One 1

TERM 3CUL-235 Critical Practice 1 3ILL-305 Drawing for Illustration ORILL-204 Analytical Figure Drawing 3FAR-204 Art: Structure & Systems 3ILL-167 Head & Hands 3INT-155 Language & the Moving Image 3FAR-305 One on One 1

TERM 4CUL-207 History of Art 1; CUL-208 History of Art 2; OR CUL-209 History of Art 3 3FAR-252 Visiting Artist Workshop 1 OR FAR-352 Dialogues with Visiting Artists 3FAR-451 Contemporary Issues 3FAR-200 Defining Your Work 3Advance Critical Practice 3


077

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

We see the future of Graphic Design as trans-media 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

Graphic Design

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.


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

ARTCENTER.EDU/GPK

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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

ARTCENTER.EDU/GPK

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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

ARTCENTER.EDU/GPK

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BEN BARRY AND EVERETT KATIGBAK, THE BRAINS BEHIND

FACEBOOK’S ANALOG RESEARCH LABORATORY.

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.

Alumni Focus

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TERM 1CUL-235 Critical Practice 1 3HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3GPK-102 Digital Basics: Lynda.com 1GPK-109 Communication Design 1: Primer 3GPK-111 Type 1 3INT-102 Design 1 3INT-120 Narrative Sketching 3

TERM 2PRP-200 Art of Research OR PRP-201 Art of Research 3GPK-151 Typography 2: Structure 3GPK-159 Communication Design 2: Context GPK-211 Motion Design 1 OR GPK-155 Interactive Design 1 3INT-152 Design 2: Structure & Color 3INT-161 Narrative Imaging 3

TERM 3CUL-220 Intro to Modernism 3GPK-201 Typography 3: Context 3GPK-211 Motion Design 1 OR GPK-155 Interactive Design 1 3GPK-222 Communication Design 3: Narrative 3INT-158 Materials of Art & Design 3

TERM 4CUL-230 Graphic Design History 1 3GPK-250 4th Term Review 0GPK-254 Package 1 3GPK-255 Interaction Design 2 OR GPK-208 3D Motion Graphics 3GPK-264 Typography 4: Interactive; GPK-262 Typography 4: Motion OR GPK-267 Typography 4: Print 3GPK-332 Communication Design 4: Transmedia 3

TERM 5CUL-231 Graphic Design History 2 3GPK-204 Identity Systems 3GPK-301 Information Design 3GPK-354 Package Design 2; GPK-358 Interior Design OR GPK-265 Motion Design 2 3GPK-407 Transmedia Typography 3

TERM 6GPK-355 Advanced Graphic Studio: 6th Term 3GPK-388 MediaTecture 3Transdisciplinary Studio 3

TERM 7PRP-203 Business 101 3GPK-400 7th Term Review 0GPK-405 Advanced Graphic Studio: 7th Term 3GPK Electives 3

TERM 8GPK-456 Portfolio & Career Preparation 3GPK-470 Advanced Graphic Studio: 8th Term 3GPK Electives 3



Everett Katigbak is a communication designer at Facebook who focuses on brand communication through various media, from video and inter-active to letterpress and screen printing.


087

Illustration

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

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 con-nects 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 com-munications 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.


ARTCENTER.EDU/ILLUSTRATION

TITLE SHRINE / STUDENT BEN SANDERS / TERM 6

CLASS COLOR THEORY / INSTRUCTOR ADAM ROSS

TOP & RIGHT TITLE LONDON SHOWERS / STUDENT JUNHEE SIM

TERM 7 / CLASS ILLUSTRATION FOR LICENSE / INSTRUCTORS

ANN FIELD & CHRISTINE NASSER

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TITLE OLYMPICS 2012 POSTER / STUDENT TORY LIN / TERM 6

CLASS LONDON ANCIENT MODERN STUDY AWAY PROJECT

INSTRUCTORS ANN FIELD, CLIVE PIERCY & PAUL ROGERS

TITLE FRATERNITY HAZING / STUDENT SARA SAEDI

COURSE OP ED / INSTRUCTORS BRIAN REA & PAUL ROGERS

TITLE LADY GAGA, “BLUE PHASE” / STUDENT ALLISON KRUMWIEDE

COURSE MEDIA EXPERIMENTATION / INSTRUCTORS ROB CLAYTON &

CHRISTIAN CLAYTON

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090

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TITLE COOKIE / STUDENT MARION MCCALLY / TERM 8

CLASS INDEPENDENT STUDY / INSTRUCTOR ALEX SCHAEFER

TITLE JAPANESE GARDEN / STUDENT RUOLIN LI

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ARTCENTER.EDU/ILLUSTRATION Program of StudyAlumni Focus

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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.

Illus

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CORE ILLUSTRATION PROGRAMTERM 1HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3ILL-101 Illustration Now 0ILL-106 Perspective 3ILL-167 Head & Hands 3ILL-208 Composition & Drawing 3INT-102 Design 1 GPK/ILL/ADT 3

ENTERTAINMENT ARTS TRACKTERM 2CUL-235 Critical Practices 1 3IDF-102 Viscom Fundamentals 1 3ILL-153 Composition & Painting 3INT-100 Digital Design 1 3INT-152 Design 2: Structure & Color 3

TERM 3ILL-211 Motion Design 1 OR ILL-258 Digital Illustration 3ILL-256 Creative Perspective 3ILL-305 Drawing for Illustration ORILL-355 Dynamic Sketching for Illustration ORILL-204 Analytical Figure Drawing ORILL-254 Inventive Drawing ORILL-381 Imaginatomy 3INT-158 Materials of Art & Design 3CUL-220 Intro to Modernism 3

TERM 4CUL-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 3ILL-305 Drawing for Illustration ORILL-355 Dynamic Sketching for Illustration ORILL-204 Analytical Figure Drawing ORILL-254 Inventive Drawing ORILL-381 Imaginatomy 3ILL-207 Sketching for Illustration 3ILL-253 Image & Idea 3INT-155 Language of the Moving Image 3

TERM 5ILL-300 5th Term Portfolio Review 0ILL-315 Illustrative Storytelling OR ILL-241 Sketching for Entertainment 3ILL-359 Digital Landscape 3INT-203 Expressive Type OR INT-111 Type 3INT-252 Color & Story 3Advance Critical Practice 3

TERM 6ILL-321 Storyboarding 3ILL-333 Style DevelopmentILL-391 Historical Env Matte Painting ORILL-277 Digital Life 3ILL-357 Children’s Book Illustration 3ILL-415 Background Painting/ Animated Film 3

MOTION TRACKTERM 2CUL-220 Intro to Modernism 3ILL-153 Composition & Painting 3INT-100 Digital Design 1 3INT-152 Design 2: Structure & Color 3INT-158 Materials of Art & Design 3

TERM 3CUL-235 Critical Practice 1 3ILL-211 Motion Design 1 3ILL-305 Drawing for Illustration 3ILL-258 Digital Illustration 3INT-155 Language of the Moving Image 3

TERM 4CUL-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 3ILL-207 Sketching for Illustration 3ILL-113 Drawing Concepts 1 3ILL-214 3D Motion Graphics 3ILL-266 Storyboarding 1: Design & Sequencing 3

TERM 5GPK-265 Motion Design 2 3FAR-253 Image & Idea 3ILL-261 Illustration Design Lab 3ILL-315 Illustrative Storytelling OR ILL-241 Sketching for Entertainment 3 Advanced Critical Practice 3

TERM 6ILL-203 Expressive Type OR INT-111 Type 1 3ILL-314 Advanced 3D Motion Graphics 3ILL-319 Advanced Illustration Studio 3 ILL-368 Storyboarding 2: Live Action 3

TERM 7FIL-261 Digital Motion Compositing 3Transdisciplinary Studio; FAR-254 Intro to Printmaking; FAR-255 Printmaking OR ILL-210 Intro to Maya 3 PRP-203 Business 101 3

TERM 8ILL-453 Portfolio Design Lab 3





ILLUSTRATION DESIGN TRACKTERM 2CUL-235 Critical Practices 1 3ILL-113 Drawing Concepts 1 3ILL-153 Composition & Painting 3INT-100 Digital Design 1 3INT-152 Design 2: Structure & Color 3

TERM 3CUL-220 Intro to Modernism 3ILL-211 Motion Design 1 OR ILL-258 Digital Illustration 3ILL-305 Drawing for Illustration 3INT-158 Materials of Art & Design 3INT-203 Expressive Type OR GPK-111 Type 1 3

TERM 4CUL-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 3ILL-207 Sketching for Illustration 3ILL-253 Image & Idea 3ILL-315 Illustrative Storytelling 3ILL-325 Nude Body ORILL-171 Portraiture 3

TERM 5FAR-255 Printmaking ORFAR-254 Intro to Printmaking 3ILL-300 5th Term Portfolio Review 0ILL-260 Illustration Design 3ILL-261 Illustration Design Lab 3INT-251 Color Theory 3Advanced Critical Practice 3

TERM 6ILL-319 Advanced Illustration Studio 3ILL-377 Illustration for Publishing OR ILL-357 Children’s Book Illustration 3Transdisciplinary Studio 3

TERM 7ILL-318 Notorious OR ILL-216 Advanced Portraiture 3PRP-203 Business 101 3




TERM 7ILL-339 Graphic Design for Entertainment Arts 3ILL-356 Visual Development 3ILL-374 Inventive Character OR ILL-370 Matte Painting 3Transdisciplinary Studio OR ILL-210 Intro to Maya 3PRP-203 Business 101 3

TERM 8ILL-453 Portfolio Design Lab 3ILL-471 Entertainment Senior Project 3

ADDITIONAL REQUIREMENTSHumanities & Sciences Electives: Human 9 Culture 3 Material Environment 9 Professional Practice 6


FINE ART PAINTING TRACKTERM 2CUL-235 Critical Practices 1 3ILL-113 Drawing Concepts 1 3ILL-153 Composition & Painting 3INT-100 Digital Design 1 3INT-152 Design 2: Structure & Color 3

TERM 3ILL-211 Motion Design 1 OR ILL-258 Digital Illustration 3ILL-305 Drawing for Illustration 3INT-158 Materials of Art & Design 3CUL-220 Intro to Modernism 3Advanced Critical Practice 3

TERM 4CUL-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 3ILL-207 Sketching for Illustration 3ILL-253 Image & Idea 3ILL-325 Nude Body OR ILL-171 Portraiture 3

TERM 5FAR-101 Rethinking Art 1 3FAR-304 Painting Strategies 3ILL-171 Portraiture OR ILL-325 Nude Body 3ILL-300 5th Term Portfolio Review 0INT-251 Color Theory 3

TERM 6FAR-255 Printmaking 3ILL-216 Advanced Portraiture 3Transdisciplinary Studio 3

TERM 7FAR-352 Dialogues w/Visiting Artists 3FAR-403 Fine Art Seminar 3ILL-421 Supersized 3PRP-203 Business 101 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.T

ITLE 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.


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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

Interaction Design

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 pro-gram 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.


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What is Interaction Design?

Everywhere and anywhere that you see mobile apps, electronics, web-sites, 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, spon-sors 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.

Maggie Hendrie Department Chair

Q & A



TITLE PHILIPS DIABETIC MONITOR / STUDENT BRYCE BUTCHER

CLASS PRODUCT BRANDING / INSTRUCTOR JAMES CHU

PROGRAM PRODUCT DESIGN

TITLE MUSIC THE LISTENER'S ART: MODULAR MUSIC E-BOOK

STUDENTS LINK HUANG, MIKE MANALO & BORA SHIN

CLASS PRODUCTIVE INTERACTION / INSTRUCTOR PHIL VAN ALLEN

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TITLE ATMOSPHERE WEATHER VISUALIZER / STUDENT JESSICA

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MICHAEL WILSON / PROGRAM GRAPHIC DESIGN

TITLE STEPS / STUDENTS NANCY CHUI, KEVIN KWOK,

WAYNE TANG, RACHEL THAI & WINNIE YUEN / CLASS

INTERACTIVE DESIGN 3 INSTRUCTORS TODD MASILKO &

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TITLE AROMA—WILLIAMS-SONOMA DIGITAL RECIPE ALBUM

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TERM 1HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3GPK-102 Digital Basics: Lynda.com 1IDF-102 Viscom Fundamentals 1 3IDF-103 3D Fundamentals 1 3INT-102 Design 1 3IXD-101 Interaction Design 1 3IXD-102 Interaction Prototyping 1 3

TERM 2HMN-202 Human Factors & Design Psychology 3IDF-114 Way Things Work 2IDF-152 Viscom Fundamentals 2 3INT-152 Design 2: Structure & Color 3IXD-151 Interaction Design 2 3IXD-152 Interaction Prototyping 2 3

TERM 3CUL-220 Intro to Modernism 3MAT-314 Digital Electronics 3PRP-201 Art of Research 3GPK-301 Information Design 3IXD-200 3rd Term Portfolio Review 1IXD-201 Interaction Design 3 3IXD-202 Interaction Prototyping 3 3

TERM 4History & Futures of IxD 3Data Visualization 3INT-254 Materials & Explorations 3IXD-251 Interaction Design 4 3IXD-252 Interaction Prototyping 4 3

TERM 5Design (TBD) 3INT-201 Rapid Prototyping 3IXD-301 Interaction Design 4 3Transdisciplinary Studio 3

TERM 6Design (TBD) 3PRP-229 Branding Strategies 3IXD-350 6th Term Review 1IXD-351 Interaction Design 6 3Transdisciplinary Studio 3

TERM 7Professional Practice 1 3IXD-401 Interaction Design 7 3IXD-410 Advanced Interaction Studio 3

TERM 8Professional Practice 2 3IXD-420 Interaction Studio Portfolio Prep 3IXD-451 Interaction Design 8 3

ADDITIONAL REQUIREMENTSStudio Electives 13Humanities & Sciences Electives: Human 6 Culture 3 Material Environment 6 Human, Culture, Material Environment, OR Professional Practice 3



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 10

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Image makers today face the challenge of being more technically capable, conceptually knowl-edgeable, professionally confident, responsible and culturally aware than ever before.

Dennis Keeley Department Chair

Photography and Imaging

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 produc-tion 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, nur-tures 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.


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TITLE UNTITLED / STUDENT JUNETAE CHO / TERM 7

CLASS PHOTO PRODUCTION / INSTRUCTOR ANN CUTTING

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TITLE SOCCER FIELD IN MACARTHUR PARK, CA

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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 of my education.

Alumni Focus

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TERM 1HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3PHO-161 Imaging 1 3PHO-102 Concept 3INT-103 Design 1 PHO/FAR 3PHO-221 Advanced Photographic Processes 1 3

TERM 2CUL-220 Intro to Modernism 3PHO-211 Imaging 2 3PHO-160 Core Lighting 3PHO-107 View Camera 3PHO-204 Composition 3PHO-222 Advanced Photographic Processes 2 3

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

TERM 4CUL-216 History of Photo 1 3PHO-311 Still Life 1 3PHO-251 Architecture 3PHO-154 Fine Art Photography 3Advanced Critical Practice 3

TERM 5CUL-218 History of Photo 2 3PHO-258 Location Photography 3PHO-312 Design 2, Color Theory 3PRP-345 Business & Professional Practice 3PHO-300 5th Term Review 0

TERM 6PHO-360 Portfolio Development 3PHO-346 Marketing & Self Promotion 3PHO-347 Marketing Existing Photography 3Transdisciplinary Studio 3

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

TERM 8PHO-461 Final Crit 3



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.


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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

Emerging technologies and platforms for inno-vation 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

Product Design

While the core of what we do as product designers is under-standing 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 profes-sional practice. Along with core visual, creative, technical and analytical skills, you will gain a comprehensive understanding of design research methodologies, business principles, materi-als 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.


TITLE DIGIFI: AUDIONAUTS / STUDENT MIKE KIM / TERM 6

CLASS CREATIVE STRATEGIES INSTRUCTOR FRIDOLIN BEISERT

AWARD IDEA GOLD 2012

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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 CARGO PORTABLE GRILL

STUDENT JACK HEE SEUNG LIM / TERM 8 / CLASS PRODUCT

DEVELOPMENT / INSTRUCTOR GRANT DELGATTY


ARTCENTER.EDU/PROD

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

TITLE C-LINE BAG COLLECTION

STUDENT JUSTINE PARISH / TERM 7

CLASS DESIGN RUNWAY

TITLE HANDA N2 SOLIDWORKS MODEL

STUDENT ANDREW KIM / TERM 4 / CLASS SOLID

MODELING / INSTRUCTOR NATHAN ALLEN

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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

TITLE HYBRID PERFORMANCE SKI & SNOWBOARD BOOT

STUDENT JACK HEE SEUNG LIM / TERM 7 / CLASS PRODUCT

BRANDING / INSTRUCTOR JAMES CHU

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Martin Lotti 2007

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.

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SHOE. ONLY 160G. MOST

ENVIRONMENTALLY FRIENDLY

SHOE IN NIKE'S HISTORY.

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 1HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3IDF-102 Viscom Fundamentals 1 3IDF-103 3D Fundamentals 1 3IDF-113 Study Models 2IDF-114 Way Things Work 2INT-112 Design Fundamentals 1 3PRD-151 Product Design 1 3

TERM 2CUL-220 Intro to Modernism 3IDF-153 3D Fundamentals 2 3INT-100 Digital Design 1 3INT-165 Design Fundamentals 2 3PRD-152 Visual Communication 2 3PRD-201 Product Design 2 3

TERM 3CUL-214 History of Industrial Design 3INT-201 Rapid Prototyping 3PRD-104 ID Form Language 3PRD-200 3rd Term Review 0PRD-202 Visual Communication 3 3PRD-251 Product Design 3 3

TERM 4MAT-206 Materials & Methods 3PRD-215 Product Design 4 3PRD-252 Visual Communication 4 3PRD-254 ID Graphics 3PRD-255 Solid Modeling 3

TERM 5MAT-313 Design for Sustainability 3PRD-253 Product Design 5 3Internship Portfolio 2PRD-302 Visual Communication 5 3PRD-317 Interface Design 3PRD-404 Industrial Design Research 3

TERM 6HMN-202 Human Factors & Design Psychology 3PRP-351 The Business of Design 3PRD-277 Product Design 6 3PRD-306 Open Innovation 3PRD-350 6th Term Review 0PRD-352 Visual Communication 6 3

TERM 7PRP-330 Insights 3PRP-350 The Design Professional 3PRD-426 Product Design 7 3Transdisciplinary Studio 3

TERM 8PRD-454 Portfolio 3PRD-455 Product Design 8 3Professional Preparation 0



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.


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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

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

Transportation Design

The challenges facing the automotive industry present tremen-dous 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.


STUDENT JOON KIM / TERM 5 / CLASS RED CROSS MOBILITY

DESIGN / INSTRUCTORS GAYLORD ECKLES & MAREK DJORDJEVIC

TITLE HSB HYBRID SPORT BICYCLE / STUDENT TOMAS BUBILEK

TERM 8 / CLASS ADVANCED PRODUCT DESIGN 3 / INSTRUCTOR

BUMSUK LIM

ARTCENTER.EDU/TRANSPORTAL

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STUDENT MARCUS QUACH / TERM 7

CLASS VISUAL COMMUNICATION 7

INSTRUCTOR JAE MIN

STUDENT JEONG MIN AHN / TERM 7

CLASS INDEPENDENT STUDY

INSTRUCTOR JAE MIN

(TOP & BOTTOM) STUDENT JENNIFER CHOY

CLASS VISUAL COMMUNICATION 7

INSTRUCTOR JAE MIN

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TITLE PLUSONE / STUDENT TOMAS BUBILEK / TERM 6

CLASS PERSONAL MOBILITY / INSTRUCTOR BUMSUK LIM


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TITLE JAGUAR ROADSTER / STUDENT YOON TAEHO

TERM 8 / CLASS SENIOR PROJECT

TITLE BENTLEY ROADSTER / STUDENT BENJAMIN

KNAPP VOITH / TERM 8 / CLASS SENIOR PROJECT

TITLE HURUM YACHT / STUDENT JONG HOON KIM

TERM 6–7 CLASS INTRODUCTION TO MARINE DESIGN

INSTRUCTORS JEFF SHAW & PHIL ARNOLD


FORD START CONCEPT EXTERIOR SKETCHES


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.

Alumni Focus

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TERM 1HMN-100 Writing Studio OR HMN-101 Writing Studio Intensive 3INT-112 Design Fundamentals 1 3IDF-111 Design Process 1 3IDF-102 Viscom Fundamentals 1 3IDF-113 Study Models 2IDF-103 3D Fundamentals 1 3IDF-114 Way Things Work 2

TERM 2PRP-201 Art of Research 3INT-100 Digital Design 1 3INT-165 Design Fundamentals 2 3IDF-151 Design Process 2 3IDF-152 Viscom Fundamentals 2 3IDF-153 3D Fundamentals 2 3

TERM 3CUL-220 Intro to Modernism 3CUL-210 History of Automobile Design 3TRN-211 Auto Design 3: Exterior Design 2TRN-212 Auto Design 3: Interior Design 2TRN-213 Auto Design 3: Vehicle Technology 2TRN-215 Visual Fundamentals 3 3TRN-249 3rd Term Review 0TRN-307 Vehicle Architecture 3

TERM 4HMN-202 Human Factors & Design Psychology 3TRN-270 Auto Design 4: Exterior Design 2TRN-271 Auto Design 4: Interior Design 2TRN-273 Auto Design 4: Vehicle Technology 2TRN-320 3D Physical 4 2TRN-321 3D Digital 4 3TRN-310 Viscom Fundamentals 4 3

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

TERM 6TRN-352 Visual Communication 6 3TRN-341 Transportation Design 6 3PRP-350 The Design Professional 3TRN-340 Insights: Trends & Materials 3

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

TERM 8TRN-466 Trans Design 8: Interior 3TRN-467 Trans Design 8: Exterior 3



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.

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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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Undergraduate AdmissionsArt 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 port-folio, 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 and VisitingWe would like to start working with you early on in your application process. Visit us!

CounselingMeet with an Admissions counselor for guidance on portfolio preparation and the admissions process. Sessions are not formal admissions interviews, but will help you direct your portfolio development. Arrangements can be made for phone counseling sessions if you email or post your portfolio work.

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

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

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

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

1 Complete the application for admission 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 guid-ance 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 com-pleting high school or a G.E.D. prior to their enrollment. Home-schooled students should submit transcripts that include course titles, grades, credits, and signa-ture of the home-school administrator.

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

_ International transcripts that are not pro-vided 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.


ARTCENTER.EDU/ADMISSIONS

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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 DesignSubmit a minimum of three spatially or 3D- oriented projects that show solutions to a specific spatial design challenge. These should include drawings and sketches along with photographs of models that demonstrate an understanding of 3D space, technical skills and design sensibility. Examples of work may include interior design, furniture design, lighting design, set design and architectural design projects. Limited examples of draft-ing 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.

FilmSubmit completed film or video projects of at least five but no longer than 20 minutes total running time. The filmed work should tell a story or present a point of view, rather than simply record a situation. The work should 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 [email protected] with their full name and address included. Only if Vimeo access is unavailable should an NTSC DVD be substituted for submission.

Fine ArtInclude a representative selection of your work in any media. In addition to submitting examples of foundation skills, also present personal work that reveals experimentation and imagination. 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 DesignInclude layouts or comprehensives for graphic design projects, such as posters, brochures, editorial design, package design, motion graphics, web design and identity systems. Pieces that exhibit communication of an issue, an individual point of view, or a unique approach to a problem are valuable. Provide process work that shows the development and variation of your ideas. Evidence of an understanding of and passion for typography is a must. Submit at least 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 story-boards as well as on CD QuickTime files that are optimized at 200 MB or less and are Mac-compatible.

IllustrationSubmit 10–15 original figure drawings from the live model that include both gestural and more developed pieces. These should dem-onstrate 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.

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.

_ 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 RequirementsMeet 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 ProgramsIn the event an Admissions counselor feels your portfolio is not quite ready for consid-eration 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 pro-gram), 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 MajorAdvertisingAdvertising majors should demonstrate innovative thinking with words and images to promote products or ideas through ads. Work should demonstrate a fresh, original way of looking at things, possibly incor-porating humor or other means by which the public’s attention is drawn to the ad. Your advertising portfolio work should be clean, clear and well presented, but spend the majority of your time coming up with interesting, sharp, original, I-never-would-have-thought-of-that ads. The quality of your thinking is more important than the finish. If you have previous experience in advertising, 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 combi-nation 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 DesignThe task of a concept designer for the entertainment industry is to provide diverse variations of characters, environments, vehicles and props for stories taking place in the past, present or future. Your portfolio should include examples of your original design ideas created for a story of your invention or an existing story. These should be well communicated through drawings and



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PDF. Group each project as a separate PDF if using Slideroom.

Submitting your PortfolioWe 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 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.

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

4 Drop off original work. You can submit a portfolio of original work by dropping it off and picking it up at the Admissions Office. Weight limit is 25 lbs; 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 notifica-tion. No portfolios will be mailed back.

Undergraduate Dates and DeadlinesArt Center reviews and accepts undergradu-ate 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:

Spring term: October 1Summer term: January 15Fall 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 DeferralsApplication NotificationsApplicants will be notified of the Admissions Committee’s decision in writing as soon as possible after receipt of all application materials, usually within three weeks. Art Center reserves the right to rescind an offer of admission at its discretion and if any information contained in the application is found to be incomplete, inaccurate or misleading or if additional 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.

Also submit five or more imaginative drawings or paintings that demonstrate a story or communicate an idea. These illustrations should include use of color and composition. Entertainment-related pieces such as character development can also be included. Sketchbooks that demonstrate your observations and thought process are recommended.

Interaction DesignSubmissions 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 inter-faces, 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 inter-activity, 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 ImagingSubmit a minimum of 25 black-and-white, color or digital images. Do not submit black-and-white exclusively. Photos should reflect a connection between idea and technique and display the 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 DesignSubmit sketches and finished drawings of three or more original product design projects (medical and computer equipment or con-sumer 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 addi-tional product thinking and ideas; these can be scanned and grouped on a PDF.

Transportation DesignPortfolio submissions should demonstrate a passion for and curiosity about the future of transportation, including cars, trucks, public transportation, boats, motorcycles or alternative mobility. Submit four to five complete projects that show your original transportation design concepts through a series of sketches. These should represent a variety of types of vehicles. Inclusion of designs for non-vehicular products is encouraged. Drawing (non-digital) should be the primary means for 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



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Transfer StudentsStudents who have completed studio coursework at another college that parallels the major coursework at Art Center may receive advanced standing. Advanced standing is 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 StudentsArt Center welcomes international students and the cultural diversity they bring to our campus. Art Center courses are conducted in English, and undergraduate applicants with a native language other than English 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.

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

Special Non-Degree Student StatusArt Center occasionally admits students to its Special Status program. The program is intended for students who have had significant work and educational experience. These students are allowed to attend Art Center classes for up to three terms on a non- degree basis. The Special Status program is available at both the undergraduate and graduate level, and for students with or without a prior college degree. Special Status students pay the current full-time tuition rate. To qualify, students must show an advanced level portfolio for one major. They must meet the same admissions requirements as degree program candidates, complete the admissions procedure for undergraduate or graduate students, as applicable, and

check off “Special Student Status” on the application form. Students cannot 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 CreditA maximum of 60 units of studio and academic credits may be transferred from another accredited institution. Art Center rec-ognizes 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.

Tuition DepositUpon 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 confir-mation 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.

DeferralsAccepted applicants can defer their admis-sion 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.

ReadmissionStudents 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 MajorYou 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.)AdvertisingFilmFine ArtGraphic DesignIllustrationPhotography and Imaging

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

We encourage students to spend time exploring their choice of major prior to applying to Art Center. This will be an important commitment; while it is possible to change majors, it is not guaranteed, and can result in starting over in the new major. All degree requirements, including your studio art and Humanities and Sciences classes, are offered at Art Center. You can take the entire program here, or transfer in credits prior to entry.

Integrated StudiesClasses in the Integrated Studies Department cover material common to most disciplines, such as basic visual vocabulary, craftsmanship and technical skills, 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 ground-ing in essential subject matter, Integrated Studies cultivates the transdisciplinary culture that uniquely distinguishes education at Art Center.

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

Your Program of StudyMost 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.



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

Living Expenses and SuppliesArt Center does not currently offer dormi-tories, and living costs vary greatly based on the type of housing the student chooses. However, we estimate a generous aver-age 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 transporta-tion, 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 InsuranceAll enrolled Art Center students are automatically covered by a student health insurance policy upon registration. This is a free benefit and service to students with no additional charge.

Financial AidWe encourage all students who need finan-cial assistance to apply for aid. Applying for financial aid in no way affects your admis-sions decision.

Application Procedure1 A financial aid brochure that outlines the

various financial aid opportunities can be obtained by calling the Admissions Office at 626-396-2373 or by visiting artcenter.edu for full information on financial aid.

2 U.S. students must start the application process for all types of aid, including scholarships, by completing the Free Application for Student Aid (FAFSA) at fafsa.ed.gov. No aid, including scholar-ships, can be offered to U.S. students without the FAFSA.

3 International students do not need to file any financial aid forms. They are eligible to apply for scholarships by submitting their application materials by the priority scholarship deadlines listed here.

Financial Aid and ScholarshipsFinancial Aid for U.S. StudentsSubmit 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 StudentsArt 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 EuropeThe 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.

Studio Art CreditStudio art credit is awarded based on a combination of portfolio work and prior college credit. Portfolios are evaluated for studio credit at the time of admission.In addition to credit for prior college work, students may also be granted a maximum of 12 credits based on professional work experience. A transfer student’s program will be 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 trans-fer if the course is listed as transferable at the time of entry, is applicable to the major and if a grade of “B” or better is achieved.

Humanities and Sciences CreditWhile specific required Humanities and Sciences courses within your major must generally be taken through the Art Center degree program, a number of elective units may be fulfilled through transfer credit. These vary by major. Art Center requires a specific distribution of Humanities and Sciences courses for graduation. Credits accepted for transfer must fall into these categories: 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 bet-ter for required courses has been achieved. For a detailed description of eligible trans-fer credit by category, visit the Admissions section of the Art Center website.

Arrival and HousingWe hope that you will call on the Admissions staff to help with questions or needs related to your arrival. We recommend that you arrive at least two weeks before classes if you are moving to Pasadena from within the U.S. If you are an international student, we recommend you arrive three to four weeks before the beginning of the term to find housing, get a driver’s license, and get accustomed to Pasadena. While Art Center does not offer on-campus housing, the Center for the Student Experience coordinates information regarding

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

Your Creative CommunityArt 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 experi-ence. 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.



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Priority Scholarship DatesSummer term: January 15Fall term: February 15Spring term: October 1

Notification of Scholarship AwardsAccepted applicants who meet the priority dates will be notified by: Summer term: March 1Fall term: April 1Spring 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 noti-fied 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 InformationTerms/Semester SystemArt Center offers three full terms (semesters) each year: Fall, Spring and Summer. Each term is 15 weeks long.

Course LoadDegree programs are full time only, requiring a course load of between 12 and 19 units per term. Permission must be obtained to 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, depend-ing on availability of classes and amount of transfer credit awarded.

SchedulesClass schedules are arranged so that many subjects are taught in blocks once a week on a full-day basis. Many studio classes meet from 9 am to 4 pm. Other classes are from 8 am to 1 pm and from 2 to 7 pm. Some classes are scheduled in the evening and on Saturdays. Humanities and Sciences classes normally meet at 1, 4 or 7 pm on weekdays and occasionally on Saturdays. Independent-study courses are available by special permission.

Change of MajorOnce enrolled, a student can apply for a change of major through a portfolio review process. Changes of major are not auto-matic, and students who change majors must meet all the requirements for their new major. This may entail additional terms of study.

Awarding of DegreesTo graduate, an undergraduate student must have completed all required course work and attained a cumulative Grade Point Average of at least 2.50. Graduate students must complete all course work with a minimum cumulative Grade Point Average of 3.00 and a thesis.

Graduation RatesThe Student Right-to-Know Act mandates that all institutions disclose their gradua-tion 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 PoliciesFamily 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 PolicyArt 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 PolicyArt Center College of Design complies with the Americans with Disabilities Act, Section 504 of the Rehabilitation Act, and state and

local requirements regarding students and applicants with disabilities. Under these laws, no otherwise qualified individual with a disability shall be denied access to or participation in the services, programs and activities of the College. 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-to- Know ActArt 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 FeesArt Center reserves the right to change or modify tuition, fees, the calendar, or discon-tinue or modify course offerings, majors, graduation requirements, rules, policies and procedures as it deems necessary or appro-priate. 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 excep-tions 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 respon-sible 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 DevelopmentArt 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 con-nections 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 stu-dents 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 impres-sive 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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Fall TermTuesday, September 4 – Friday, September 7: Orientation for Fall termSaturday, September 8: Fall classes beginMonday, November 12: Veterans Day holiday (observed)Thursday, November 22 – Sunday, November 25: Thanksgiving holidaySaturday, December 15: Classes endSaturday, December 15: GraduationVacation: December 16 – January 12

Spring TermTuesday, January 8 – Friday, January 11: Orientation for Spring termSaturday, January 12: Spring classes beginMonday, January 21: Martin Luther King, Jr. holidaySaturday, April 20: Classes endSaturday, April 20: Graduation Vacation: April 21 – May 11

Summer TermTuesday, May 7 – Friday, May 10: Orientation for Summer term Saturday, May 11: Classes beginMonday, May 27: Memorial Day holidayThursday, July 4: Independence Day holidaySaturday, August 17: Classes endSaturday, August 17: GraduationVacation: August 18 – September 7

Fall TermTuesday, September 3 – Friday, September 6: Orientation for Fall termSaturday, September 7: Classes beginMonday, November 11: Veterans Day holidayThursday, November 28 – Sunday, December 1: Thanksgiving holidaySaturday, December 14: Classes endSaturday, December 14: GraduationVacation: December 15 – January 11

Spring TermTuesday, January 7 – Friday, January 10: Orientation for Spring termSaturday, January 11: Classes beginMonday, January 20: Martin Luther King, Jr. holidaySaturday, April 19: Classes endSaturday, April 19: Graduation Vacation: April 20 – May 10

Summer TermTuesday, May 6 – Friday, May 9: Orientation for Summer termSaturday, May 10: Classes beginMonday, May 26: Memorial Day holidayFriday, July 4: Independence Day holidaySaturday, August 16: Classes endSaturday, August 16: Graduation Vacation: August 17 – September 6

Year founded1930

AffiliationPrivate, nonprofit institution

AccreditationsWestern Association of Schools and Colleges; National Association of Schools of Art and Design

Applications acceptedSpring, Summer and Fall for most majors

Terms (semesters)Three 15-week terms per year

Fall 2011 Undergraduate enrollment1,650 (53% men, 47% women)

Fall 2011 Graduate enrollment192 (63% men, 37% women)

Average age of entering Undergraduate studentsFall entry: 20.9 years old All entry terms: 22.5 years old

Average age of all Undergraduate students23.6 years old

Students from other countries22% (representing 36 countries)

Students from other states26%

Students who receive financial aid72% (Art Center administers more than $9.2 million in scholarships per year.)

Average student / faculty ratio9 to 1

Number of faculty93 full-time, 279 part-time

2011 Undergraduate enrollment by programAdvertising: 77Entertainment Design: 98Environmental Design: 83Film: 85Fine Art: 83Graphic Design: 259Illustration: 474Photography and Imaging: 154Product Design: 136Transportation Design: 192

Students who complete their degrees within six years70%

Average job-placement rate one year after graduation91%* *Based on alumni-survey responses of 53%.

2011 Graduate enrollment by programArt: 34Broadcast Cinema: 64Industrial Design: 46Media Design: 44

WASC985 Atlantic Avenue, Suite 100, Alameda,CA 94501 510-748-9001

NASAD11250 Roger Bacon Drive, Suite 21, RestonVA 20190-5248 703-437-0700

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 isavailable through the Office of Academic Affairs.



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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 CinemaBroadcast 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 consid-eration, 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 DesignApplications 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 DesignThis 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 multi-scale 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 DesignThis 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.

Graduate AdmissionsApplications 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.

Programs of StudyMaster of Fine Arts (M.F.A.)ArtBroadcast Cinema (Film)Media Design

Master of Science (M.S.)Environmental DesignIndustrial Design Transportation Design

Non-Degree ProgramsArt 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 out-lined for the degree programs. Financial aid is not available, with the exception of scholar-ship funding for students from Europe, which may be offered at the time of admission.

Counseling and VisitingGraduate students should call Admissions at 626-396-2373 to arrange a visit directly with the department to which you are apply-ing. The Art and Media Design Practices programs are housed at South Campus.

Graduate Application and Portfolio RequirementsThe following materials constitute a com-plete application. No application will be reviewed until all of these materials have been received.

General requirements for all majors:1 A completed admission application.

Download or complete online at applyweb.com/apply/accd.

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.

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 admis-sion. 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 Major-specific requirements. Please refer to the text below for addi-tional requirements by program.

6 Review the section on submitting your portfolio for methods of submission.

ArtGraduate 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.


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 [email protected].



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chairs, desk sets, communication systems, cars and housewares.

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 recommen-dation from academic and professional references.

Media Design PracticesMedia 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 real-world context where social justice, public policy, media infrastructure and communi-cations 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 com-munication 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, includ-ing 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 com-plete 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 concep-tion 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, inter-active, 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.

This is a program for students who want to elevate their understanding of production furniture and its relationship to manufactur-ing, 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.


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 docu-mented 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.

Furniture & 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 documenta-tion of the complete design development process. The latter should include varia-tions 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.

Industrial DesignThe Industrial Design program is looking for bright, articulate, literate and social individu-als. Our student body typically includes a majority of students with Industrial Design undergraduate degrees and various levels of professional experience in that arena. Professional experience resulting in market-tested designs is preferred. Candidates with a wide variety of undergraduate degrees and professional experience are also considered. Diversity and breadth of background play an important role in defining the transdisci-plinary 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.


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 human-centered 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, propor-tion, 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



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4visualization/drawing skills, 3D explora-tion, 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.

Transportation Systems track applicants should include examples of design projects and concepts. These might incor-porate a variety of projects, but should include some samples of transportation system concepts. Demonstration of criti-cal 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 competen-cies 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 PortfolioFollowing are the methods for submitting your work. Look for exceptions under theDepartmental 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 recom-mend 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 DeferralsApplication NotificationsApplicants will be notified of the Admissions Committee’s decision in writing on a rolling basis for Art and Broadcast Cinema and in March for 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 appli-cation is found to be incomplete, inaccurate or misleading or if additional information leads to serious concerns.

Tuition DepositSpaces in the Graduate programs are lim-ited. 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.

DeferralsDeferrals of admission are not available, with the exception of the Art program based on special permission.

Tuition and Fees for Graduate StudentsArt Center’s 2012–13 Graduate tuition is $18,522 per term. See page 141 of the Undergraduate Section for additional information.

_ 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.

_ 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 achieve-ments, and work experience.

5 Letters of recommendation (one to three) from academic and professional refer-ences 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 communi-cate design.

Transportation DesignThe 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 transdisci-plinary 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 DesignThis 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 disci-plines and into areas such as policy-making, business strategy and urban planning as related to transportation systems.


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


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6Financial Aid and ScholarshipsArt 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 626-396-2215 or visit the Art Center website for more detailed information.

Application ProcedureU.S. citizens and permanent alien residents must complete both the admissions require-ments and the FAFSA (Free Application for Student Aid) to be considered for scholar-ships 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 DatesFall term: February 1Spring term: October 1Summer term (Media Design Field 2-year track): December 1

Notification of Scholarship AwardsAccepted applicants who meet the priority dates will be notified in writing by: Summer term: March 1 Fall term: April 1Spring term: November 15

For assistance in applying for financial aid, contact the Financial Aid Office at 626-396-2215.

New Student Orientation and Class SchedulingGraduate 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.

Arrival and HousingPlease call on the Admissions staff to help with questions or needs related to your arrival. While Art Center does not offer on-campus housing, the Center for the Student Experience coordinates information regard-ing local housing and roommate options on a housing website.

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Art— Master of Fine Arts

The Graduate Art curriculum combines one-on-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.

Industrial Design— Master of Science

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 innova-tive system design methods. Consideration is given to the business, technological and humanistic aspects of any challenge.

Broadcast Cinema (Film) — Master of Fine Arts

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.

Media Design Practices — Master of Fine Arts

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.

Environmental Design— Master of Science

In pursuit of opportunity and innovation, stu-dents 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.

Transportation Design— Master of Science

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.


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.

Graduate Studies


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.

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

Jeremy Gilbert-Rolfe Department Chair

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.

Graduate Art

Being at Art Center continues to intensify my resolve about under-standing 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


ARTCENTER.EDU/GRADART

TITLE VANISHING MECHANICS / STUDENT CHRIS ELLIS TERM 6 / CLASS MASTERS THESIS, SPRING 2011

TITLE CESCA / STUDENT MATTHEW WALLER TERM 4 / CLASS MASTERS PROJECT, SUMMER 2012

Graduate Art163

162 Graduate Art



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

TITLE TERMITE HILL I / STUDENT OWEN SCHMIT / TERM 6 CLASS MASTERS THESIS, FALL 2011

Graduate Art161

160 Graduate Art



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

Graduate Art165

Graduate Art164


Diana Thater MFA 1990

Alumni Focus

Program of StudyFaculty


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

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.

166 Graduate Art

DEPARTMENT CHAIR

Jeremy Gilbert-Rolfe

CORE FACULTY

Lita Albuquerque Walead Beshty Stan Douglas Patti Podesta Diana Thater Annette Weisser

FULL-TIME FACULTY

Taft GreenBruce Hainley Gabrielle Jennings Tim Martin Jason Smith

VISITING ARTIST

Antje Englemann

ADJUNCT FACULTY

Tom Allen Skip Arnold Uta Barth Cindy Bernard Trinie DaltonFred 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

Graduate Art167

TERM 1GSA-501 Master’s Project 1 6AGA-554 Graduate Seminar 0AGA-506 Theories of Construction 3Electives 6

TERM 2GSA-502 Master’s Project 2 6AGA-554 Graduate Seminar 0AGA-506 Theories of Construction 3Electives 6

TERM 3GSA-551 Master’s Project 3 6AGA-554 Graduate Seminar 0AGA-506 Theories of Construction 3AGA-617 Master’s Thesis Prep 0Electives 6

TERM 4GSA-552 Master’s Project 4 6AGA-554 Graduate Seminar 0AGA-506 Theories of Construction 3AGA-617 Master’s Thesis Prep 0Electives 6

TERM 5GSA-601 Master’s Thesis 5 6AGA-554 Graduate Seminar 0AGA-506 Theories of Construction 3Electives 6

TERM 6GSA-601 Master’s Thesis 6AGA-554 Graduate Seminar 0AGA-506 Theories of Construction 3AGA-700 Completed Thesis 0Electives 6 Total Required Units 90


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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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.

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

Robert Peterson Department Chair Art Center’s Graduate Broadcast Cinema curriculum

encourages students to create beyond existing genres, designing new forms of storytelling and methods of production.

Graduate Broadcast Cinema


ARTCENTER.EDU/GRADCINEMA

TITLE THE CHAIR / DIRECTOR MARCEL LANGENEGGER CINEMATOGRAPHER AARON BARNES / PRODUCTION DESIGNER MARCEL LANGENEGGER / EDITOR MARCEL LANGENEGGER PRODUCER MARCEL LANGENEGGER

TITLE ROSE / DIRECTOR HOKU UCHIYAMA / CINEMATOGRAPHER ADAM MELTZER / PRODUCTION DESIGNERS ADAM BOLT & ALANA LAGERHAUSEN / EDITORS HOVIG MENAKIAN & HODU UCHIYAMA PRODUCER MICHAEL SILBERMAN

Graduate Broadcast Cinema171

170 Graduate Broadcast Cinema




172 Graduate Broadcast Cinema

TITLE BODY AND SOUL / DIRECTOR PUNTIP LIMRUNGROJ CINEMATOGRAPHER CEDRIC ANGELES / PRODUCTION DESIGNER MANOCH THONGSUK, EDITORS PASCUAL SISTO & BRETT E. ERHARD PRODUCER PUNTIP LIMRUNGROJ

TITLE BICYCLES AND RADIOS / DIRECTOR O NATHAPON CINEMATOGRAPHER DAVID ETHAN SANDERS PRODUCTION DESIGNER TOMOYA IMAI, EDITOR O NATHAPON PRODUCERS O NATHAPON & SUKUNYA SIDEN





TITLE DEFACE / DIRECTOR JOHN ARLOTTO CINEMATOGRAPHER JAMES MANN / PRODUCTION DESIGNER CHRISTIAN CHI LEE, EDITOR JOHN ARLOTTO PRODUCER ROMAN WYDEN

TITLE EL ORTHODONCISTA / DIRECTOR CHRIS GEHL CINEMATOGRAPHER LIZ RUBIN / PRODUCTION DESIGNER SONYA PALENCIA, EDITOR CHRIS GEHL / PRODUCERS IMELDA CARLOS & CHRIS GEHL


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 cur-rently 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.

Zack Snyder 1989

Alumni Focus



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.



DEPARTMENT CHAIR

Robert Peterson

FULL-TIME FACULTY

Marcie BegleiterArshag Dickranian, CoordinatorVictoria Hochberg Eric Sherman

PART-TIME FACULTY

Nir BashanMonte BramerJay ChapmanJean-Pierre GeuensDr. John HartzogHoward HeardStephanie NashJean Rasenberger (full time at Art Center, part time within Department)Pauline Sanchez (full time at Art Center, part time within Department)

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 3SBC-673 Master’s Post- Production Seminar 3 SBC-525 Unintended Martyrs 3

Studio Elective Units 9



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, manufac-turing, 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.

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.

Graduate Environmental Design


ARTCENTER.EDU/GRADENVL

Graduate Environmental Design 181

180 Graduate Environmental Design

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 experi-ence 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.


Q & A


TITLE W HOTELS / ALUMNA SHELLY SHELLY STUDIO GRAFT LOS ANGELES

TITLE AUDIO STACKING CHAIR / STUDENT CHRIS ADAMICK CLASS BERNHARDT DESIGN STUDIO / PROGRAM ENVIRONMENTAL DESIGN


Graduate Environmental Design183



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







DEPARTMENT CHAIR

David Mocarski Graduate and Undergraduate Environmental Design

FULL-TIME FACULTY

Robert BallAnia BorysiewiczSiobhan BurkeKenneth CameronCody ClarkTyrone DrakeDaniel GottliebCory GrosserPenny HerscovitchRobert HuntJohannes LampelaBenjamin LuddyJames Meraz, Associate ProfessorEmil MertzelMichael NeumayrNolen NuiYo OshimaJason PilarskiDewi SchoenbeckJennifer SilbertEddy Sykes



TITLE LOFT CHAIR / STUDENT SHELLY SHELLY CLASS BERNHARDT DESIGN STUDIO / PROGRAM ENVIRONMENTAL DESIGN

ENV-311 Digital Process 5 3ENV-153 Design Lab 2 3 ENV-310 Topic Studio 3 ENV-265 Visual Communication 2 3

TERM 2 ENV-251 Digital Process 4 3ENV-252 Environmental Design 4 3ENV-253 Structure: Interior Architecture 3 ENV-271 Design Lab 4 3 CUL-341 History and Theory of Space 2 3

TERM 3ENV-504 Digital Process 6 3ENV-505 Materials & Innovation 1 3ENV-512 Spatial Scenography Studio 1 3ENV-514 Ambient Media & Interactivity 3 ENV-607 Space, Brand & Experience 3

TERM 4ENV-509 Digital Process 7 3ENV-510 Grad Seminar 3 ENV-515 Spatial Scenography Studio 2 3ENV-516 Advance Spatial Graphics 3ENV-608 Theory, Concept, Culture 3

TERM 5ENV-511 Research Project: Industry Sponsor 4

TERM 6 ENV-601 Thesis Studio 1 6ENV-602 Fabrication Innovation 1 3ENV-603 Concept-Management- Process 3ENV-310 Topic Studio 3

TERM 7 ENV-604 Thesis Studio 2 9ENV-605 Documentation: Presentation 3ENV-606 Fabrication Innovation 2 3


SPATIAL EXPERIENCE2-YEAR PATHTERM 1ENV-504 Digital Process 6 3ENV-505 Materials & Innovation 1 3ENV-512 Spatial Scenography Studio 1 3ENV-514 Ambient Media + Interactivity 3 ENV-607 Space, Brand & Experience 3

TERM 2 ENV-509 Digital Process 7 3ENV-510 Grad Seminar 3 ENV-515 Spatial Scenography Studio 2 3ENV-516 Advance Spatial Graphics 3ENV-608 Theory, Concept, Culture 3

TERM 3 ENV-511 Research Project: Industry Sponsor 4




3-YEAR PATHTERM 1 ENV-152 Environmental Design 2; ENV-202 Environmental Design 3; OR ENV-352 Experience Design 3ENV-151 Digital Process 2; ENV-201 Digital Process 3; ENV-251 Digital Process 4; OR

TERM 2 ENV-151 Digital Process 2; ENV-201 Digital Process 3; ENV-251 Digital Process 4; OR ENV-311 Digital Process 5 3ENV-310 Topic Studio: Lighting 3ENV-310 Topic Studio: Furniture 3 MAT-203 Illumination: Lighting 3 CUL-341 History and Theory of Space 2 3

TERM 3ENV-501 Topic Studio: Furniture 3ENV-502 Topic Studio: Lighting 3ENV-504 Digital Process 6 3ENV-505 Materials & Innovation 1 3 ENV-607 Space, Brand & Experience 3

TERM 4ENV-507 Advanced Topic Studio: Furniture 3ENV-508 Advanced Topic Studio: Lighting 3ENV-509 Digital Process 7 3ENV-510 Grad Seminar 3 ENV-608 Theory, Concept, Culture 3

TERM 5ENV-511 Research Project: Industry Sponsor 4




FURNITURE & FIXTURES2-YEAR PATHTERM 1ENV-501 Topic Studio: Furniture 3ENV-502 Topic Studio: Lighting 3ENV-504 Digital Process 6 3ENV-505 Materials & Innovation 1 3 ENV-607 Space, Brand & Experience 3

TERM 2 ENV-507 Advanced Topic Studio: Furniture 3ENV-508 Advanced Topic Studio: Lighting 3ENV-509 Digital Process 7 3ENV-510 Grad Seminar 3 ENV-608 Theory, Concept, Culture 3

TERM 3 ENV-511 Research Project: Industry Sponsor 4




3-YEAR PATHTERM 1 ENV-104 Materials & Making 3ENV-151 Digital Process 2; ENV-201 Digital Process 3; ENV-251 Digital Process 4; OR ENV-311 Digital Process 5 3ENV-265 Visual Communication 2 3ENV-310 Topic Studio 3 PRP-229 Branding Strategies 3


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.

Art Center’s Grad ID program offers a Master of Science curriculum focusing on theory and practice for the production of insightful research, the develop-ment of human-centric designs and the creation of new business opportunities. We combine 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,

Andy Ogden Department Chair

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.

Graduate Industrial Design

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


ARTCENTER.EDU/GRADID

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.

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.

Graduate Industrial Design 191


RENTAL TRUCK CONVERSION KIT EMERGENCY RESPONSE VEHICLE



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.

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.


192 Graduate Industrial Design



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

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

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.



REPLACEABLE FOOT MAT

PRESET ACUPRESSURE SYSTEM

INDIVIDUAL CONTROL POINTS

TELEPRESENCE SERVICE SYSTEM

COMPACT DESIGN

CUSTOMIZABLE APPLICATION




DEPARTMENT CHAIR

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 JonesStory MusgraveEmily SawamuraLloyd Walker

Magdalena Paluch 2011

Alumni Focus

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 envi-sion 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.

TERM 4IND-605 Entrepreneur Methodology 3IND-651 M4 Studio (Sponsored Project) 3IND-671 Visualization 4 3

TERM 5IND-600 5th Term Progress Review 0IND-670 Workshop 5 3IND-681 M5 Studio 3Elective credits 6

TERM 6IND-606 Entrepreneur Studio 3IND-672 Workshop 6 3IND-682, M6 Studio 3Elective credits 3 Total Required Units 99

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

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

TERM 3IND-500 3rd Term Review 0IND-540 Materials & Methods 3A 3IND-541 Materials & Methods 3B 3IND-555 System Design Research 3IND-557 M3 Studio (System Design) 3IND-601 3D Development 3 3IND-602 Visual Form 3 3IND-610 Visualization 3 3


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.

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

Anne Burdick Department Chair

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.

Graduate Media Design Practices

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


ARTCENTER.EDU/MDP

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.

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.

Graduate Media Design Practices 201



ARTCENTER.EDU/MDP

TITLE HUDDLE / STUDENT JAYNE VIDHEECHAROEN / YEAR 2011

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.

TITLE PORTALS AND FRIENDS / STUDENT JAYNE VIDHEECHAROEN / YEAR LAB THESIS, 2012

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.

TITLE CONTACTS / STUDENT LUKE JOHNSON / YEAR POST-GRADUATE FELLOWHSIP 2010

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.

JOHNSON IS SENIOR DESIGN RESEARCHER FOR NOKIA’S ADVANCED DESIGN AND VISUAL STRATEGIST FOR JET PROPULSION LABORATORY (JPL).

TITLE PROJECT GOOD CRY / STUDENT DEE KIM / 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.

KIM WORKS FOR THE INSTITUTE FOR THE FUTURE AND UNICEF’S INNOVATION LABS.


202 Graduate Media Design Practices

Students are encouraged to follow their curiosity and use their skills as designers to investigate people and their relationship to communication technology.

Students create working prototypes to explore the exchange between digital and physical cultures and spaces.


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.




ARTCENTER.EDU/MDP


206 Graduate Media Design Practices

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 tech-nological 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’ commit-ment 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.

Anne Burdick Department Chair

Q & A



Julia Tsao 2009

Alumni Focus

ARTCENTER.EDU/MDP

DEPARTMENT CHAIR

Anne Burdick

FULL-TIME FACULTY

Elizabeth ChinChris CsikszentmihalyiSean Donahue Tim DurfeeBen Hooker Phil van Allen

ADJUNCT FACULTY

Elise Co Shannon HerbertGarnet Hertz Justin GierLuke JohnsonNorman M. Klein Jennifer Krasinski Jane McFaddenMike MilleyChristopher MorabitoThea Petchler Jennifer RiderMolly Wright SteensonHolly Willis

VISITING CRITICS

Julian BleeckerDenise Gonzales CrispPaul DourishRene DaalderFred DustJohn KaliskiLustTom MarbleSteve RowellDmitri SiegelMimi Zeiger

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 LA-BASED MUSIC PRODUCER NOSAJ THING AND SWEDISH INTERACTIVE STUDIO DINAHMOE.

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.



FIELD3-YEAR PATH

MDP-507 Intro to Interaction Design 3MDP-510 Dev Core 3MDP-581 Histories of the Future 3PRD-254 ID Graphics 1 3PRD-249 Creative Strategies 3MDP-519 Colloquium 1 MDP-522 Visual Narrative 3MDP-517 Transmedia Design 3MDP-502 Media History and Theory 3GPK-211 Motion Design 1 3GPK-301 Information Design 3MDP-519 Colloquium 1

MDP-526 Field Core A 4MDP-527 Field Core B 4MDP-528 Field Core C 4MDP-535 Critical Frameworks 1 (Field) 3MDP-519 Colloquium 1

MDP-533 Field Projects 1 12MDP-536 Critical Frameworks 2 (Field) 3MDP-519 Colloquium 1

MDP-619 Field Projects 2 6MDP-616 Field Thesis 1 6MDP-615 Critical Practices 1 (Field) 3MDP-519 Colloquium 1

MDP-626 Field Thesis 2 12MDP-625 Critical Practices 2 (Field) 3


FIELD2-YEAR PATH

MDP-526 Field Core A 4MDP-527 Field Core B 4MDP-528 Field Core C 4MDP-535 Critical Frameworks 1 (Field) 3MDP-519 Colloquium 1

MDP-533 Field Projects 1 12MDP-536 Critical Frameworks 2 (Field) 3MDP-519 Colloquium 1

MDP-619 Field Projects 2 6MDP-616 Field Thesis 1 6MDP-615 Critical Practices 1 (Field) 3MDP-519 Colloquium 1

MDP-626 Field Thesis 2 12MDP-625 Critical Practices 2 (Field) 3


LAB3-YEAR PATH

MDP-507 Intro to Interaction Design 3MDP-510 Dev Core 3MDP-581 Histories of the Future 3PRD-254 ID Graphics 1 3PRD-249 Creative Strategies 3MDP-519 Colloquium 1

MDP-522 Visual Narrative 3MDP-517 Transmedia Design 3MDP-502 Media History and Theory 3GPK-211 Motion Design 1 3GPK-301 Information Design 3MDP-519 Colloquium 1

MDP-511 Lab Core A 4MDP-514 Lab Core B 4MDP-516 Lab Projects 1 3MDP-518 Critical Frameworks 1 (Lab) 3MDP-519 Colloquium 1

MDP-531 Lab Projects 2 12MDP-532 Critical Frameworks 2 (Lab) 3MDP-519 Colloquium 1

MDP-975 Summer X-Term 3

MDP-606 Lab Thesis 1 12MDP-614 Critical Practices 1 (Lab) 3MDP-519 Colloquium 1

MDP-636 Lab Thesis 2 12MDP-624 Critical Practices 2 (Lab) 3


LAB2-YEAR PATH

MDP-511 Lab Core A 4MDP-514 Lab Core B 4MDP-516 Lab Projects 1 3MDP-518 Critical Frameworks 1 (Lab) 3MDP-519 Colloquium 1

MDP-531 Lab Projects 2 12MDP-532 Critical Frameworks 2 (Lab) 3MDP-519 Colloquium 1

MDP-975 Summer X-Term 3

MDP-606 Lab Thesis 1 12MDP-614 Critical Practices 1 (Lab) 3MDP-519 Colloquium 1

MDP-636 Lab Thesis 2 12MDP-624 Critical Practices 2 (Lab) 3



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 administra-tion, 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.

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

Geoff Wardle Executive Director, Graduate Transportation Design

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.

Graduate Transportation Design


Geoff Wardle Executive Director, Graduate Transportation Design

Q & A

ARTCENTER.EDU/GRADTRANS212 Graduate Transportation Design

Graduate Transportation Design213

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 comfort-able 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 environ-ment, 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.


TITLE RAYMOND HILL 2034: URBAN ECOLOGY AND THE SELF-SUFFICIENT NEIGHBORHOOD / STUDENT MATTHEW R. CUNNINGHAM / CLASS ADVANCED DESIGN INSTRUCTOR MARK GOERNER / PROGRAM TRANSPORTATION DESIGN

TITLE ROUTEMASTER 2012 / STUDENT GABRIEL WARTOFSKY CLASS SENIOR THESIS / INSTRUCTORS MAREK DJORDJEVIC & DAVE HACKETT / PROGRAM TRANSPORTATION DESIGN

ARTCENTER.EDU/GRADTRANS


214 Graduate 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

STUDENT CHRISTOPHER STEVENS / CLASS LIGHTWEIGHT VEHICLE CONCEPT STUDIO / INSTRUCTORS DAVID O’CONNELL, GAZA LOCZI, GABRIEL WARTOFSKY, CANDICE-LEIGH BAUMGARDNER & PAMELA BLACKWELL / PROGRAM TRANSPORTATION DESIGN

ARTCENTER.EDU/GRADTRANS

ART CENTER VIEWBOOK 2013–2014Graduate Transportation Design217



Program of StudyFaculty Program of Study

STUDENT CHAN PARK / CLASS LIGHTWEIGHT PERSONAL MOBILITY DEVICE INSTRUCTOR BUMSUK LIM / PROGRAM TRANSPORTATION DESIGN

ARTCENTER.EDU/GRADTRANSGraduate Transportation Design218

EXECUTIVE DIRECTOR

Geoff Wardle

FACULTY

Candice-Leigh Baumgardner Katherine Bennett Pamela Blackwell Parker Fredlund Maggie HendrieTim Huntzinger Lucian Rosca Mark Shumate Pascual Wawoe


TERM 3TRN-521 User Interface Design Studio Part 2 3TRN-522 Design Strategy Studio 3TRN-523 Professional Presentation 3TRN-550 Strategic Prototype Design Studio Part 1 3TRN-551 Business of the Vehicle Industry 1TRN Electives 3

TERM 4TRN-601 Thesis Project Preparation 3TRN-631 Strategic Prototype Design Studio Part 2 6TRN Electives 3

TERM 5TRN-611 Thesis Development Studio 6TRN Electives 6

TERM 6TRN-615 Business & Product Development Studio 3TRN-621 Thesis Development Studio 6TRN Electives 3


GRADUATE TRANSPORTATION DESIGN — VEHICLE TERM 1TRN-500 Vehicle & Transportation Product Development 1TRN-501 Introduction to User Interface Design 1TRN-502 Vehicle & Transportation Technology 1TRN-503 Customer Centered Research 2TRN-504 Transportation Histories & Futures Part 1 2TRN-530 Visual Communications 3TRN-531 Concept Design Studio Part 1 3TRN-532 Digital Skills 3

TERM 2TRN-511 User Interface Design Studio Part 1 3TRN-512 Future Scenarios Development 1TRN-513 Professional Development & Strategic Presentation 2TRN-514 Transportation Histories & Futures Part 2 1TRN-515 Product Development & Manufacturing Technology 1TRN-540 Visual Communication & Digital Skills 3TRN-541 Advanced Concept Design Studio Part 2 3

TERM 3TRN-521 User Interface Design Studio Part 2 3TRN-522 Design Strategy Studio 3TRN-523 Professional Presentation 3TRN-580 Strategic Systems Design Studio Part 1 3TRN-581 Business & Politics of Delivering Transportation 1TRN Electives 3

TERM 4TRN-601 Thesis Project Preparation 3TRN-661 Strategic Systems Design Studio Part 2 6TRN Electives 3

TERM 5TRN-611 Thesis Development Studio 6TRN Electives 6

TERM 6TRN-615 Business & Product Development Studio 3TRN-621 Thesis Development Studio 6TRN Electives 3


GRADUATE TRANSPORTATION DESIGN — SYSTEMS TERM 1TRN-500 Vehicle & Transportation Product Development 1TRN-501 Introduction to User Interface Design 1TRN-502 Vehicle & Transportation Technology 1TRN-503 Customer Centered Research 2TRN-504 Transportation Histories & Futures Part 1 2TRN-560 Visual Communications 3TRN-561 Systems Design Studio Part 1 3TRN-562 Digital Skills 3

TERM 2TRN-511 User Interface Design Studio Part 1 3TRN-512 Future Scenarios Development 1TRN-513 Professional Development & Strategic Presentation 2TRN-514 Transportation Histories & Futures Part 2 1TRN-515 Product Development & Manufacturing Technology 1TRN-570 Visual Communication & Digital Skills 3TRN-571 Advanced Systems Design Studio Part 2 3

ARTCENTER.EDUArt Center220THE GREEN ROOF AT ART CENTER’S LEED-CERTIFIED (LEADERSHIP IN ENERGY AND ENVIRONEMNTAL DESIGN) SOUTH CAMPUS.

AAcademic Information 146Admissions Undergraduate 137-147 Deadlines and notifications 141 Requirements 137-141 Your Choice of Major 142 Graduate 150-156 Notifications 155 Requirements 150-155 Counseling Appointments 137, 150Advertising, undergraduate 26-35 Program of Study 35Arrivals and Housing 144, 156Art, graduate 158-167 Program of Study 167Art Center at Night 138Artmatters Concentration 21

BBroadcast Cinema, Graduate 168-177 Program of Study 177

CCalendar, academic 148-149Career Development 147Center for the Student Experience 15, 144Course load 146

D Deferrals 142, 155Designmatters Concentration 18-20Disabled students 146

EEnglish proficiency 143, 150Entertainment Design, undergraduate 36-45 Program of Study 45Environmental Design, undergraduate 46-55 Program of Study 55Environmental Design, graduate 178-187 Program of Study 187

FFacilities and Resources 147Family Education Rights and Privacy Act 146Fees 145, 155Film, undergraduate 56-65 Program of Study 65 Financial Aid 145, 156 Deadlines 145-146, 156Fine Art, undergraduate 66-75 Program of Study 75

GGraduate Programs 157-220Graduation rates 146Graduation requirements 150Grants 145-146Graphic Design, undergraduate 76-85 Program of Courses 85

H Health Insurance 145High School students 188Housing 144Humanities and Sciences 142, 144

IIllustration, undergraduate 86-95 Program of Study 95Industrial Design, graduate 188-197 Program of Study 197Integrated Studies 142Interaction Design, undergraduate 96-105 Program of Study 105International students 143, 145

LLiving expenses 145Loans 145, 156

MMedia Design, Practices, graduate 198-209 Program of Study 209

NNondiscrimination policy 146

OOrientation 144, 156

PPhotography and Imaging, undergraduate 106-115Program of Study 115Portfolio requirements Undergraduate 138-141 Graduate 150-155Portfolio return 141, 155Product Design, undergraduate 116-125 Program of Study 125Public Programs 138

RReadmission 142Registration, new students 144, 156

SSaturday High 138Schedules 146Scholarships 145-146, 156Special Non-Degree Student Status 143Student Affairs 15, 144Studio Art Credit 144Supplies, budgeting for 145

TTours 137Transfer students 143Transportation Design, undergraduate 126-135 Program of Study 135Transportation Design, graduate 210-219 Program of Study 135Tuition 145, 155 Deposit 142, 155

VVeterans 143

WWork Study 145

PUBLISHED BY THE DEPARTMENT OF MARKETING AND COMMUNICATIONSCHAIRMAN OF THE BOARD OF TRUSTEES: ROBERT C. DAVIDSON JR.PRESIDENT: LORNE M. BUCHMANSENIOR VICE PRESIDENT, DEVELOPMENT AND EXTERNAL AFFAIRS: ARWEN DUFFYASSOCIATE VICE PRESIDENT, MARKETING AND COMMUNICATIONS: WENDY SHATTUCKDIRECTOR 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 06PRODUCTION DESIGNER: AUDREY KRAUSSPHOTOGRAPHER: LIBERO “TONY” DI ZINNO PHOT 89

EDITORIAL DIRECTION AND WRITTEN CONTENT: ALEX CARSWELLEDITORIAL 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 126: JUAN POSADA // PAGE 176: © 2009 WARNER BROS. ENTERTAINMENT, INC. ALL RIGHTS RESERVED // PAGE 220: ALEX ARISTEI.

FONTS: AKKURAT MONO, APERÇU, MONOTYPE GROTESQUEPAPER: 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.

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Art Center Viewbook 2013-2014