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President’s message 3Overview 4Integrated Studies 31Humanities and Sciences 37Designmatters 43Advertising 49Entertainment Design 61Environmental Design 73Film 85Fine Art 97Graphic Design 109Illustration 121Interaction Design 133Photography and Imaging 145Product Design 157Transportation Design 169Admissions 181Academic calendar 191ArtCenter at a glance 192

artcenter.edu

3President’s message

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

Lorne M. Buchman President

54 ArtCenter College of Design

2017–2018Overview

ArtCenter College of Design offers a new model for art and design education in the 21st century. It’s rooted in the vision of our co-founder and first president, Edward “Tink” Adams, who in 1930 pioneered a no-nonsense curriculum to prepare artists and designers for roles in industry. While the College has expanded significantly since those days, and students now participate in a wide range of learning experi-ences, our reputation still revolves around the caliber of our faculty and the intensity of our degree programs.

We call it “the conservatory spirit.” Like a conservatory for aspiring performing artists, we offer a space for dedicated art and design students to grow and thrive under the guidance of a faculty of working design professionals and artists.

Our project-based interdisciplinary curriculum emphasizes “making” and mirrors real-world experiences to give students the skills neces-sary to craft exceptional work.

The ArtCenter experience


2017–2018Overview

Whether you’re interested in creating augmented reality experiences, singular storytelling, challenging artwork, autonomous transportation systems, or new ways of delivering safe drinking water to impover-ished communities, no project is too ambitious.

And our strong connections to industry, nonprofit organizations and the art world means you’ll be working with experts in the field, so that when you graduate, you’ll be able to hit the ground running.


2017–2018Overview

ArtCenter College of Design2017–2018

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Overview

ArtCenter offers 11 undergraduate degrees: Bachelor of Fine Arts in Advertising, Film, Fine Art, Graphic Design, Illustration, and Photography and Imaging; and Bachelor of Science in Entertainment Design, Environmental Design, Interaction Design, Product Design and Transportation Design. Unlike most art and design colleges, we ask our undergraduates to declare a major prior to their acceptance. This is an important decision, so you’ll want to spend time learning about each major prior to applying.

Regardless of your major, you’ll take courses in the Integrated Studies Department that cover material and processes common to all disci-plines. In these classes you’ll learn to see with your hands and think with your eyes. And through required courses in our Humanities and Sciences Department, you’ll receive both the necessary context and awareness for your practice.

Since today’s interconnected cultures and markets require artists and designers to work across disciplines, our Transdisciplinary Studio (TDS) courses give upper-term students from different majors opportunities to collaborate on projects. Often, these studios are sponsored by industry partners—from major automakers like Toyota and General Motors to international nonprofits like Doctors Without Borders and the World Health Organization.

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

ArtCenter offers seven distinct graduate degrees: Master of Fine Arts in Art, Film, Graphic Design and Media Design Practices; and Master of Science in Environmental Design, Industrial Design and Transpor-tation Systems and Design; along with a dual degree in Innovation Systems Design (MS/MBA). Each represents an exceptional opportunity to challenge the conventional and establish a unique personal trajectory. Along with a professionally distinguished faculty, small class size, and an innovative curriculum that sets the standard in the field, ArtCenter’s creatively charged atmosphere provides ideal conditions for advanced study and practice.

Undergraduate studies

Graduate studies


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Overview


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Overview

The College encompasses two campuses: Hillside Campus, a modernist steel-and-glass structure straddling the San Rafael Hills of Pasadena, just above the Rose Bowl; and South Campus, an evolving complex that includes a historic supersonic wind tunnel, a former post office facility and a renovated office building.

Step inside and you’ll see students sketching at tables, brainstorming in the cafeteria and erecting outdoor installations. They’re using the full array of facilities and resources available to them: The Print-making Studio; the Color, Materials and Trends Exploration Lab (CMTEL); the Hoffmitz Milken Center for Typography; Archetype Press; 3D prototyping and fabrication shops; photo and film stages; and a comprehensive art and design library.

Walk through the Student Gallery and you’ll find professional-quality work conceived and created by our undergraduate students in our studios and workshops—from whimsical illustrations and thought- provoking artwork to impeccably rendered models and elegant solutions to complex problems.

Campus life


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Overview

Step off campus and discover one of the most creative environments in the world—virtually anything is possible in the Greater Los Angeles region. As the western capital of the U.S., the eastern capital of the Pacific Rim, and the gateway to Latin America, L.A. reflects diverse worldviews, cultures, cuisines, and languages (more than 200 at last count). Offering unparalleled opportunities in the fields of film and entertainment, the region is also a hub of innovation in advertising, art, automotive design, technology and higher education.

Our hometown of Pasadena is a sophisticated city in its own right. Just 10 miles from downtown Los Angeles, Pasadena features archi-tectural masterpieces by Frank Lloyd Wright and Charles and Henry Greene, and an impressive collection of cultural institutions, including the Norton Simon Museum and the Pacific Asia Museum. It’s also home to the California Institute of Technology and NASA’s Jet Propul- sion Laboratory, both frequent ArtCenter collaborators.

Home to beaches, mountains, and a vibrant urban center, Greater L.A. is a magnet for driven people across the globe.

Greater Los Angeles


1918

Overview

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2017–2018Overview

Today, the world’s ideas, languages and cultures have become more interconnected, and ArtCenter’s Study Away programs offer students the means to address design challenges and explore artistic opportu-nities globally. Some of our signature programs include partnerships with the prestigious INSEAD business school in France and Singapore, Tama Art University in Japan, and Centro School of Design in Mexico.

Another study away option is ArtCenter Berlin, our permanent, year-round studio located in Bikini Berlin, an innovative concept shopping mall located in a city famous for reinvention. Operated like a professional creative agency, the studio removes students from a traditional setting and drops them into the atmosphere of a pop-up design office.

Study away

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2017–2018Overview

Creativity is in demand, and ArtCenter boasts a long history of close corporate partnerships. From the General Electric Space Capsule project in 1960 to the recent Jaguar Land Rover and Intel New Car Experiences studio, hundreds of industry-funded collaborations have taken place in our classroom studios.

Such collaborations are woven into the very fabric of our students’ experience through Sponsored Projects, classroom studios that embrace collaboration across disciplines and put our learn-by-doing methodology into action. In these projects—which take the form of a full 14-week course, a week-long DesignFlash or an intensive three-day DesignStorm®—small groups of students are presented a specific art or design challenge from an industry partner.

Through the course of the project, students immerse themselves in an experience that mirrors professional practice, including presenting their solutions to a panel of the company’s leaders. Our partners benefit from this educational model—they get access to the fresh, bold thinking of our talented artists and designers—and our students benefit, not only from the experience they gain, but also because they own the intellectual property they create.

Close ties to industry

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2017–2018Overview

In today’s highly competitive job market, plotting your career path is more critical than ever. Which is why we offer a variety of resources and services to help you achieve your goals.

Enhancing students’ education through real-world experience, internships provide opportunities to grow creatively, diversify your skill set, gain confidence in your abilities and build your professional network. ArtCenter supports paid internship opportunities, and in many cases you can also earn school credit. Our students have recently held internships at companies including Cartoon Network, Facebook, Google, IDEO, Microsoft, NASA’s Jet Propulsion Laboratory, Tesla and Warner Bros. Animation.

Our Mentorship Program brings students together with industry leaders, including many ArtCenter alumni—mentors who provide insight into specific fields, offer professional advice and perspectives, and help identify potential job markets. Through our speaker series,

“Career Chats: Insights Into Creative Professions,” you will also hear from top industry professionals presenting on a variety of topics.

As a graduating student, you will have opportunities to network with professionals and other valuable contacts while showcasing your work. We invite employers from around the world to visit open studios, view student work, and discuss their organizations and positions currently available. Recent participants include Apple, Disney Consumer Products, Google, IBM Design, Mazda, Nike, Nissan, SYPartners and Thinkwell Group.

Internships, mentorships and networking

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2017–2018Overview

An entrepreneurial spirit permeates ArtCenter’s halls, and finds expression through deep professional connections across all fields. We offer several programs to help students find fulfilling employment, get their work out into the larger world, or create a new venture of their own.

These programs include: Dot Connect, an online platform that connects you with prospective employers and opportunities; work-shops that provide advice on negotiating salaries, pricing your work,

“hidden” job markets and more; DOT Launch, a resource that helps ArtCenter designers develop entrepreneurial ventures; and The Design Accelerator incubator, a joint initiative between ArtCenter and the California Institute of Technology (Caltech) that helps startups grow by merging great design, cutting-edge technology and business strategy.

Creating your career

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2017–2018Overview

Sometimes our students become so immersed in their work that they don’t realize they’ve been laying the groundwork for the future since their first day of ArtCenter orientation. The students you make friends and collaborate with will grow into your lifelong network of colleagues in art and design. Indeed, our larger global alumni network—a creative, connected community of more than 18,000 individuals—becomes your extended ArtCenter family. And to help you tap into that network, our Office of Alumni Relations will stay engaged with you and invite you to participate in worldwide network-ing events, industry-specific panels, workshops and symposiums.

Because no matter where your career takes you, ArtCenter goes with you.

Lifelong connections

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2017–2018 artcenter.edu/integrated

Integrated Studies

Interdisciplinary StudiesIntegrated StudiesHumanities and SciencesDesignmatters

Undergraduate DegreesAdvertisingEntertainment DesignEnvironmental DesignFilmFine ArtGraphic DesignIllustrationInteraction DesignPhotography and ImagingProduct DesignTransportation Design

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32 Integrated Studies

At ArtCenter we learn by making. It’s where every student’s journey begins.

Integrated Studies courses introduce the soul of art and design common to all majors—basic visual vocabulary, compositional techniques, color theory, craftsmanship and technical skills. This embodiment of eye, mind and hand are essential to self-discovery. Through Integrated Studies, students also gain critical awareness and begin to identify their personal voice.

Simply understanding a concept is passive, but executing a project makes the concept active. That is what art and design are all about. Visual acuity and manual dexterity embody understanding. And over time this practice results in a truly professional and artistic approach to all creative problem solving. ArtCenter is renowned for its commit-ment to craft, and immersion in craft begins with your Integrated Studies classes. These classes are automatically incorporated into most students’ first-year course of study and progressively developed into more fully formed interdisciplinary projects.

As the name implies, Integrated Studies provides an opportunity for you to meet and collaborate with peers from other majors, and form friendships in the process.

For example: All Illustration majors study drawing. But students in every field need to be able to communicate their ideas in a drawing well enough to have someone else—say, a professional photographer or filmmaker—execute the final version. So our drawing class for nonmajors emphasizes working with fellow students of comparable skill to collaborate and grow together.

In Integrated Studies you’ll constantly be encouraged to try new things and to move beyond your comfort zone.

Imagine three different students who come together in the same Design 1 class: a graphic designer who might be more of a conceptual thinker and have a minimalist aesthetic; an illustrator who might be a wonderful drafts-man and compelling storyteller; and a fine artist who might look for metaphors and unusual solutions to challenge their viewer. Observing and learning from each other, each will discover there are different ways to solve the same problem, broadening their own repertoire of solutions beyond their natural inclinations.

Wendy Adest, Chair

Kimberlie Wong, Wire FishMaterials of Art and Design / Catherine MacLean

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2017–2018Integrated Studies

Later, as an upper-term student, you’ll participate in Transdisciplinary Studios, experiencing deeper levels of collaboration and team building and gaining real-world design experience that fosters growth, innovation and mutual respect.

The classes you will be taking are taught by some of the best art educators in North America. They are professional artists and designers who take time out of their practice to share their considerable knowledge and experience to launch the next generation of image-makers. The faculty is nimble, able to change project assignments to reflect new ideas and new media, but always main-taining faithfulness to the fundamentals of good design.

Because the possibilities of art and design are endless, we will equip you with the tech-niques and tools needed to explore them.

A Photo student might take the shop class; Fine Art and Illustration majors might take Rapid Prototyping, a required class for Product Design. Interaction design students often find their Design 1 and 2 sequence the most challenging but most rewarding classes in their first few terms. At the same time, Integrated Studies classes are so comprehensive that it’s not unusual for a Film major to take our Basics of Video Production class, or an Illustration student to take Narrative Image (a photo editing class for graphic designers).

Integrated Studies also provides hands-on workshops in a variety of media including drawing and painting, bookbinding, computer software, welding and other interests that respond to trends and students’ interests.

Integrated Studies classes are always avail-able as electives, regardless of your major.

Enjoy your journey of discovery!

RightXue Zhen Huang, 3D FormDesign 2 / Jon Nguyen

BelowZizheng (Zinc) Wang, Unity with Variety 3D StructureDesign 2 / Jon Nguyen

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2017–2018

Hum

anities and S

ciences

artcenter.edu/humanities

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38 Humanities and Sciences

As artists and designers, we are participants in contexts and discourses beyond the imme-diate focus of our work. ArtCenter gives you the tools to understand how your specialized course of study fits into the larger world.

Courses in Humanities and Sciences (H&S) promote literary and historical literacy; develop ethical and critical capacity; and encourage new modes of collaboration and cross-cultural thinking. In the rapidly chang-ing technological environment into which students graduate, learning to assess and assemble diverse bodies of information into workable, cohesive and useful wholes is not just an educational goal, it’s a survival skill.

Based on a classic curriculum of studies deemed essential for enabling an individual to take an active part in civic life, the Humanities and Sciences Department of ArtCenter is designed to enrich creative people, nurturing and supporting students as multidimensional thinkers and dynamic lifelong learners. H&S courses provide the rational and intellectual foundation for successful practice as design-ers, illustrators, photographers, filmmakers and fine artists.

We offer a diverse and intensive program of courses with a strong emphasis on literacy, critical thinking and research. The depart-ment has over 100 faculty, comprising writers, historians, scientists, philosophers, critics, activists, researchers and business leaders who bring into the classroom their expertise as practitioners in their fields.

Humanities and Sciences courses cover traditional subject areas, while also providing focused areas of interest to the artist and designer. Every student is able to use the H&S offerings both to explore their creative and intellectual interests and to further develop their professional skills.

Jane McFadden, Chair

Jonny Woods and Zak Marx, Boogie School (poem by Fred Moten) Text, Image and the Written Word / Gloria Kondrup, Dennis Phillips, Steve Turk

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2017–2018Humanities and Sciences

Your H&S experience will begin with founda-tional courses in writing, research and history that provide the appropriate intellectual skills and contexts to studio practice. You may then work to develop your coursework in the H&S Department, balancing the requirements of your major with your elective interests across several areas of study including literature, history, science and social science. The study of science, for example, encourages students to explore the processes that con-trol the world around us. As an analytical tool, science helps you to rationally tailor your design practices to maximize positive impact on the environment. You will learn about new materials and electronic technologies, and be able to push an evolving concept through rapid cycles of development and evaluation.

You can also take a range of courses in professional practice, business and entrepre-neurship, to help prepare you for the com-plexities of working in a professional field or developing an innovative business idea.

H&S is committed to helping students find coherent and relevant pathways through the curriculum. Students may make choices based on their major or may design a pathway through their requirements. Areas of empha-sis in the Department include Future Ecologies, Social Practice and Policy (Designmatters), and Narratives (Great Books).

Future Ecologies examines the complex web of relationships present in contemporary society. This pathway is for artists and design-ers who strive to understand our ever-evolving natural and technological environments as content and context for their work. It provides a creative counterpoint to more policy-driven urban studies, while also allowing students to gain a foundation in that field.

Social Practice and Policy is designed for students interested in combining their design work with issues of social justice. This pathway provides the theoretical, political, practical and imaginative aspects to enable that work. It forms the ground for the Designmatters Concentration.

The Narratives pathway offers a counter- intuitive response to the contemporary ques-tioning of the role of the humanities in higher education by looking to the “great books” (interpreted broadly) to anchor and counter-balance the professional education for which ArtCenter is renowned. This emphasis offers a creative and collaborative way to engage with the stories that embody our humanity.

H&S also hosts an ongoing endowed lecture series, ArtCenter Dialogues, which invites distinguished guests to the College. Recent themes for the series have included Creative Leadership, Future Ecologies and Life Without Objects.

Rendering of the Complex Sine Symmetries of Imagination / Bruce Hubbard

Blockheads (visualizing the world through a pinhole) Sciences of the Unseen / Bruce Hubbard, Nadine Dabby

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2017–2018

Designm

atters

artcenter.edu/designmatters

Odyssey (interactive table for the Aquarium of the Pacific), Blue Hope Studio, 2016

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44 Designmatters

ArtCenter recognizes the power of design to literally change the world. Through research, advocacy and action, the College’s social impact department, Designmatters, engages, empowers and leads an ongoing exploration of art and design as a positive force in society.

Designmatters courses vary from term to term, but include academic, discipline-spe-cific and studio-based offerings that engage students across all majors, taught with a dynamic, entrepreneurial and experiential approach to design education.

Knowledge into actionAt the turn of this century, ArtCenter launched Designmatters, a singular and trailblazing initiative that pursues strategic partnerships, collaborations and sponsored projects to enable students to tackle local, national and global issues head-on.

“Designmatters is about putting knowledge into action,” says ArtCenter Vice President Mariana Amatullo, co-founder and head of the Designmatters Department. “It’s about fostering future creative leaders with the commitment, aspiration and know-how to be catalysts for social change and innovation.”

Whether they’re creating educational cam-paigns to end homelessness and gun violence in our local communities, raising awareness about the human rights of young girls around the world, or implementing innovative design solutions for safe water access for slum dwellers in Chile, Colombia and Peru—our students are combining their remarkable talents with their strong desire to make a positive impact.

In recognition of the initiative’s extraordinary service to society, in 2003 ArtCenter was awarded status as a Nongovernmental Organization (NGO) by the United Nations—the first art and design school to receive this designation.

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

Mariana Amatullo, Vice President

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

Upon graduation, Concentration students earn a certificate in Art and Design for Social Impact in addition to their undergraduate degrees, and enter the working world equipped with a toolkit that opens up many exciting career pathways.

Flo Kit (wash, dry and carry toolkit for sanitary pads), The Girl Effect Studio, 2014

Calientamigos (pressurized shower and water heating system), Safe Agua Colombia, 2013

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2017–2018Designmatters

Additionally, Designmatters is a key partner of ArtCenter’s Media Design Practices/Field Track, offering graduate students the chance to design for social impact in a real-world context where social issues, media infrastruc-ture and communication technology intersect. ArtCenter’s ongoing partnership with UNICEF’s Innovation Labs sends that pro-gram’s Field Track students to do field work in Kampala, Uganda.

The Designmatters Fellowship Program embeds top students in host organizations for one full 14-week academic term to work on high-level projects and explore the mission, model and meaning of the host organization’s work.

The values of sustainable development, global health, public policy and social entre-preneurship are core to the curriculum, programs and projects, with the outcomes of students’ work widely disseminated beyond the studio’s walls.

An expanding world of opportunitiesArtCenter is at the forefront of educating social impact designers, as well as developing clear pathways for those interested in careers in this important area of art and design. At the international symposium “LEAP: The New Professional Frontier in Design for School Innovation” (at ArtCenter in 2013), designers, thought leaders, educators, practitioners—along with end-users representing business, nonprofit, educational and social organiza-tions—came together to explore multiple aspects of this growing field. Conceived by Designmatters, the LEAP symposium gener-ated many significant outcomes, from new mentorship and internship programs for ArtCenter students, to LEAP Dialogues, a major new publication in the field of social impact design education, featuring examina-tions of career paths for social innovation designers by 80 dynamic contributors.

Thousands of students are joining the movement to participate in and impact the world around us. ArtCenter is dedicated to seeing this movement grow and its practi-tioners flourish.

LEAP Dialogues: Career Pathways in Design for Social Innovation, published by Designmatters at ArtCenter, 2016

Hidden—Sensory and Wildlife Retreat, Eco Retreat Lab:Costa Rica, Environmental Study Away, 2015

Students conducting field research, Eco Retreat Lab:Costa Rica, Environmental Study Away, 2015

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2017–2018 artcenter.edu/advertising

Advertising

Designmatters Fellow Geoff Brewerton in Myanmar with Proximity Designs, 2013

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50 Advertising

The advertising industry is changing rapidly. As the new media landscape continues to transform the way adver-tising looks, feels and interacts with the viewer, the fundamental need remains: brands must make a power-ful connection with their audiences. At ArtCenter, you will create those connections by becoming well versed in traditional forms of advertising while being prepared to master new tech-nologies and emerging ad platforms.

Beginning classes leave you fluent in the languages of advertising, includ-ing film, video, photography, graphic and interaction design, social media and digital engagement. In later terms, you collaborate with students from other majors in Transdisciplinary Studio courses and use creative prob-lem-solving skills to develop powerful campaigns integrating traditional and new media. We also break the con-ventional classroom structure to operate like a true agency. Weeklong intensives, brainstorming sessions, peer critiques and off-campus excur-sions develop your skills as a “visual writer” and “verbal art director”— earmarks of an ArtCenter education.

Our Advertising program, launched with ArtCenter’s founding in 1930, is the oldest in the country, and our list of alumni reads like a Who’s Who of the industry. Today, our faculty of leading art directors and copywriters brings into the classroom a fresh perspective on advertising’s evolving landscape, helping you graduate with the skills and insight to become a leader in shaping its future.

Gary Goldsmith, Chair

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2017–2018Advertising

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59Program of studyAlumni

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Alumni includeBarbara McDowell 44George Rappaport 47Louis Danziger 48Marce Mayhew 50Mario Donna 52Halverson Frazier 55Doyald Young 55Tomoko Miho 56Paul Hauge 59 Mikio Osaki 61Roland Young 61Jayme Odgers 62Bob Matsumoto 63Kit Hinrichs 63 Linda Hinrichs 64Melvyn Sant 64John Van HamersveldGeorge RodrigueBeverly Doolittle 68Marty Neumeier 68John Armistead 72Thomas Cordner 72Rick Boyko 73Gerard Huerta 74Michael Schwab 75 Lindon Leader 78Peter Cohen 80Gary Goldsmith 81Matt Haligman 81Marta Salas-Porras 81Tracy Wong 84Alison Kandler 86Michael Prieve 87Arthur Tan 88Harvey Marco 89Harry Cocciolo 90 Hal Curtis 90Erich Joiner 90Stefan Bucher 96Johnny Tan 97Pam Fujimoto 98Tyler Magnusson 98Dennis Lee 00Teddy Lo 01Tiffany Kosel 02Dave Stone 08

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

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

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

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

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

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

Term 7Advertising Lab 2 3

Term 8Advertising Lab 3 3Portfolio Studio 3

Additional requirementsStudio Electives 14Humanities & Sciences electives: Humanities 6 Social Sciences 6 Science & Technology 6 Business & Professional Practice 3 Humanities, Social Sciences, Science & Technology OR Business & Professional Practice 3

Total required units 132

Advertisingohkamp.com

“ArtCenter taught me how to think differently,” says Sean Ohlenkamp, digital creative director at Leo Burnett in Toronto. Working across multiple platforms—digital, film, photography, print, illustration, design and product design—Ohlenkamp counts among his varied projects a viral stop-motion video for Type Books, with over 4.1 million YouTube views; a partici-patory “Living Piano” (with opera singers); eye-opening interactive online ads for the ALS Society of Canada; and arresting print ads for Nissan—all of which have earned critical acclaim for their originality and effectiveness. Tradi- tional media “does not lead the world of advertising anymore in the better agencies,” Ohlenkamp notes. “Idea is king. Invent a product that will change a business. Use technology and digital platforms in unique and innovative ways. You want to have a unique voice, so let all of these brilliant people around you at ArtCenter help you figure out what that is.” It was the feedback he received as a student, he says, that helped him discover his voice as a creative.

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2017–2018 artcenter.edu/entertainment

Entertainm

ent Design

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62 Entertainment DesignGuillaume Aretos, Chair

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

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

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

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

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2017–2018Entertainment Design

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Character Animation track

Term 1Writing Studio OR Writing Studio: Intensive 3Viscom Fundamentals 1 3Traditional Animation 3Design Process 3Figure Drawing & Anatomy 1 2Maya 1 2Design Fundamentals 1 3

Term 2Art of Research 3Layout 3Traditional Animation Mechanics 1 3Concept Design 1 3Figure Drawing & Anatomy 2 3Maya 2 3

Term 33rd Term Review 0H&S Film Type Courses 3Intro to Modernism 3Traditional Animation Mechanics 2 3Modeling 1 3Figure Drawing & Anatomy 3 3CG Animation 1 3

Term 4Performance as Art 3Design History of Comic & Animation 3Traditional Animation Acting 1 3Modeling 2 3Acting Workshop 3CG Animation 2 3

Term 5H&S Creative Writing Type Courses 3Theory of Structure 3Traditional Animation Acting 2 3Concept Design 2 3Storyboarding 3CG Animation 3 3

Term 66th Term Review 0H&S Literature Type Courses 3Human Factors & Design Psychology 3Traditional Animation Acting 3 3CG Animation 4 3Thesis Designs 3Thesis Pre-Production 1 3

Term 7Business 101 3CG Animation 5 3CG Lighting and Comping 3Thesis Pre-Production 2 3Thesis Pre-Production 3 3

Term 8Thesis Production 1 2Thesis Production 2 3Thesis Production 3 3

Additional requirementsStudio electives –

Humanities & Sciences electives: Humanities – Social Sciences – Science & Technology 6 Business & Professional Practice 6


Entertainment Design

Alumni includeCraig ShojiSimon Ko 07Victoria Ying 07Raj Rihal 08Sandeep Menon 09Mauricio Abril 11Mark Castanon 11Ruby (Ying-Fang) Chen 11Brandon Gonzales 11Clara Moon 11Larry Quach 11Roy Santua 11Toni Sul 11Hao Wu 11Zach Berger 12Rustam HasanovHadi Jalali 12Angela Li 12Annis Naeem Sophie McNally 12Justin Oaksford 12Velwyn Yossy 12Jaekyung “Jaguar” Lee 13Perry Maple 13Yuri Ranum 13Assaf Horowitz 14Brandon Liao 14

edmundliang.com

Self-described “provocateur” Edmund Liang, named one of Complex Art+Design’s “25 People Shaping the Future of Design,” is a multidisciplinary artist specializing in transmedia narratives and immersive, multisensory spatial experiences. Liang’s projects encompass video games, interactive media, film and animation, motion graphics and virtual reality. Among his clients are Psyop, DreamWorks, The Jim Henson Company, Imaginary Forces and Logan. “Entertainment design is more than you think it is,” says Liang. “It is whatever you want it to be. Because in the end, everything is entertain-ment design.” At ArtCenter he took advantage of the full gamut of offerings. “I jumped into graphics classes, then motion graphics. I did some product, I did some interactive. And I did fashion photography courses for a year. I kind of looked at ArtCenter as a wonderful gold mine, offering this wide scope of talent, this powerful facility and faculty for you to immerse yourself in.”

Edmund Liang BFA 13

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2017–2018 artcenter.edu/environmental

Environm

ental Design

Concept Design track

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

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

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

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

Term 5Creative Writing Type Courses 3Theory of Structure 3Color Theory for Entertainment 3Character Design 1 3Architecture Design 1 3VC5: Figure Rendering 3

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

Term 7Business 101 3Storyboarding Keyframe Concept 3VC7: MODO 3Vehicles & Props 3Originality in Design 3

Term 8Advanced Entertainment Design 3Entertainment Senior Projects 3

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


75

74 Environmental DesignDavid Mocarski, Chair

Environmental Design focuses on the total spatial experience—from the first moment of encounter to the last moment of interaction.

We pursue a global sense of industry- driven design that investigates every aspect of where and how people live, work and play. Our students look beyond the single object, moment or place to make an impact, designing projects ranging from branded retail, theme-driven dining, new hospitality, exhibition and residential design. Our emphasis on spatial experiences also produces leaders in the fields of furniture, lighting, materials innovation and sustainability.

Our students gain global awareness through Transdisciplinary Studio courses, international Study Away and Sponsored Projects classes with industry-leading companies, corpora-tions and organizations; they also investigate Designmatters-sponsored projects on behalf of humanitarian organizations around the world. All of which amounts to a rich and diverse educational experience for students aspiring to become influential and impactful spatial designers.

Erica W

ang Ad

vanced S

patial R

endering / E

mil M

ertzelJing

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op

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esign S

tudio / E

mil M

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77


2017–2018Environmental Design

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79



Jingze (C

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81



Ying

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roje

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ent and Senio

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io / Yo O

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, James M

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82

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

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

Term 33rd Term Review 0History & Theory of Space: Looking Back 3Digital Process 3 3Environmental Design 3 3Design Lab 3: Applied Graphics 3Color, Material & Concept 3Visual Communication 3 3

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

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

Term 66th Term Review 0Contemporary Place Making 3Topic Studio 3Digital Process 5 3Spatial Materials & Surfaces 3Experience Design 3

Term 7Human Factors & Design Psychology 3Topic Studio 3Portfolio Studio 2 3Degree Project: Development 3

Term 8Degree Project: Studio 3Senior Exhibition Design 3



Environmental Design

Alumni includeBruce A. Burdick 61Andrew J. Kramer 73Eric Jany 78Timothy M. Kobe 82Joy Ou 82Gordon Thompson 85Phillip J. Freer 89Matthew B. Murphy 93Ken M. Mattiuz 94Clarence L. Major 95Sami Hayek 96Dario C. Antonioni 97Alanson J. Charles 98Cory C. Grosser 01Scott Franklin 05Derek C. Hibbs 05Thasdao D. Pungprechawat 05Christopher M. Alvarado 06Jorge L. Cruzata 06Christopher M. Adamick 07John A. Niero 07Amanda M. Thevenot 07Ariel Johnson 08Roxana Russell 08Chase B. Wills 09 Stuart N. Fingerhut 10Stephanie R. Stalker 11Zorine Pooladian 12Michael N. Reyes 12Nam-Jung B. Kim 13

designbyini.com

A son of Nigerian emigrants, Ini Archibong draws from architecture, environmental and product design, as well as lifelong passions for mathematics, philosophy and world religions. After completing his bachelor’s at ArtCenter he earned a master’s in luxury design at ECAL (École cantonale d’art de Lausanne), and currently lives and works in Basel, Switzerland. His work has been exhibited globally, includ-ing at the Victoria and Albert Museum in London. He aims to create a “magical experi-ence” in his work, and told Dezeen, “The many hours of my youth spent escaping beyond the looking glass, a witness to heroic deeds and fantastical landscapes, have shaped who I am.” He founded Design by Ini in 2010, and

that same year was named the American Student Designer of the Year during ICFF. He has been a Best of NeoCon award winner and was selected to participate in the Salone Satellite 2016 during the Salone del Mobile in Milan. He has been on lecture panels at the College Art Association conference and at the University of Southern California’s School of Architecture with esteemed architects and designers such as Frank Gehry and Karim Rashid. He has also designed and consulted for top brands including Bernhardt Design, Chrysler, De Sede, Herman Miller and La Montre Hermès. And his work has been featured in AZURE, Designboom, Metropolis, Nowness, PIN-UP and Surface.

Ini Archibong BS 12

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85


2017–2018 artcenter.edu/film

Film

87

86 FilmRoss LaManna, Chair

The Film program at ArtCenter pre-pares you for an evolving industry in which one fact remains constant: Filmmakers must be strong visual storytellers. Here in Los Angeles, the world’s entertainment capital, you begin shooting immediately, with access to the latest production and post-production tools. The curriculum focuses on mastering filmmaking skills in order to serve the narrative.

Our faculty of distinguished working filmmakers and small classes foster close, mentoring relationships. In addition, the complex industry tapes-try of L.A. gives us access to studio heads and A-list talent who, as guest lecturers, share their intimate knowl-edge of the business.

Success in the entertainment industry requires a broader base of knowledge than ever before. We believe in learn-ing by making. Only when you’re fully immersed in making films do you truly learn your craft. Our production cen-ter maintains a generous supply of industry-standard equipment, and our post facilities offer most everything you need to fulfill the technical and creative vision of your story.

Our three main tracks of study are in directing, cinematography and editing. Also, for approved students, we offer specialty courses of study with an emphasis in screenwriting and producing. Throughout the program, you discover and refine your artistic style and distinctive voice, and collab-orate with students from other disciplines. You will develop a thorough understanding of the entire filmmaking process.

You enter as an apprentice artist and leave ready to reach an audience through your storytelling.

89


2017–2018Film

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2017–2018Film

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2017–2018Film

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94

Directing track

Term 1Writing Studio OR Writing Studio: Intensive 3Film Department Orientation 0Directing 1 3Intro to Cinematography 3Intro to Post Production 3Design 1 3Basics of Photo 3

Term 2Intro to Modernism 3Set Safety 0Screenwriting 1 3Storyboarding for Directors 3Acting Workshop for Directors 3Film Editing 1 3Aesthetics of Cinematography 3

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

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

Term 5Transdisciplinary Studio 3

Term 6Studio or H&S Electives –





Cinematography track


Term 2Intro to Modernism 3Set Safety 0Screenwriting 1 3Storyboarding for Directors 3Acting Workshop for Directors 3Film Editing 1 3Aesthetics of Cinematography 3

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

Term 4History of Cinema 1 OR History of Cinema 2 3Business Affairs for Filmmakers 3Line Producing and Production Management 3Directing 3 3Lighting for Cinematography 3







Filmjohnxcarey.com

In his transition from growing up on a farm in Missouri to settling in L.A., the filmmaking capital of the world, John X. Carey has rapidly become one of most sought-after directors of branded documentaries and commercials. His work powerfully engages the emotions through his focus on human-interest topics and intimate character stories, stories that go viral, accumulating millions of views. For National Autism Awareness Month in April 2016, Carey created the short film “Dillan’s Voice” for Apple, featuring a nonverbal teenager named Dillan who uses Apple products to express his thoughts. In his “Real Beauty Sketches” commercial for Dove, a forensic artist sketches women as they describe themselves—and then as strangers describe them. The inspirational ad has been translated into 25 languages, and was named by Time magazine as the number one commercial of 2013. Carey’s work has won prestigious Clio, One Show, Webby and Cannes Lion awards. His advice to ArtCenter students: “It’s just about doing every single opportunity you can. Throw yourself at it as hard as you can, every day.”

Alumni includeRon Osborn 74Doug ClaybourneTom Hammel 75Robert W. Peterson 75Thomas Ruzicka 76Valerie Gordon-JohnsonEllen Freund 79Shelly Johnson 80Rolf Kestermann 80Roger Tonry 81Adam Berger 82Don Burgess 82Michael Karp 83Monte BramerDevin Hawker 84Leslie Smith 84John Murlowski 85Neil Abramson 86Roger Avary 86Vahe Babaian 86 Brad Briggs 87Carlton Chase 87 Gary Meek 87Michael Bay 88 Stephen Berkman 88Larry Fong 89Dirk Hagen 89Zack Snyder 89 Chris Longo 95Adam Massey 95Miranda Liu 96Tarsem Singh 96 Michael Silberman 97Kevin Goetz 98Jonah Torreano 98Doug Witsken 99 Jerry Magaña 00 Josh Senter 00Damon O’Steen 01Florian Stadler 01Erik Forssell 02John Savedra 02Dan Bartolucci 10Sean Nalaboff 12Ramesh Iyer 15

John X. Carey BFA 11

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97


2017–2018 artcenter.edu/fineart

Fine A

rtEditing track


Term 2Intro to Modernism 3Set Safety 0Screenwriting 1 3Storyboarding for Directors 3Acting Workshop for Directors 3Film Editing 1 3Digital Design 1 3

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

Term 4History of Cinema 1 OR History of Cinema 2 3Business Affairs for Filmmakers 3Line Producing and Production Management 3Directing 3 3Post Production Sound 3Film Editing 3 3







99

98 Fine ArtTom Knechtel, Interim Chair

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

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

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

Isaac Barrio

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10110

0 Fine Art

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103

102 Fine Art

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ine Art S

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leaning / Maura B

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105

104 Fine Art

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Program of studyAlumni10

710

6 Fine Art

Fine Art track

Term 1Writing Studio OR Writing Studio: Intensive 3Re-Thinking Art 3One on One A 1Drawing 1 3Design 1 (PHO/ART) OR Design 1 (FIL) OR Design 1 (ADT, ILL, GPK) 3Materials of Art & Design 3

Term 2History of Art 1 OR History of Art 2 3Sculpture 1 OR Painting 1 3Art: Structure and Systems 3One on One B 1

Term 33rd Term Review 0Intro to Modernism 3Studio Practice 3Video 1 OR Photography 1 3One on One C 1

Term 4Critical Practice 1 3Installation 1 OR Social Practice 1 3Defining Your Work 3

Term 5History of Art 3 3Readings in Fine Art 3Mid-Program Review 3

Term 6Professional Practices for Artists 3Writing About Art 3Studio Visits 3Transdisciplinary Studio 3

Term 7Senior Projects 1 3


Additional requirementsStudio electives 27Humanities & Sciences electives: Humanities 3 Social Sciences 9 Science & Technology 9 Business & Professional Practice –


Alumni includeHarrison McIntosh 36 Eyvind Earle 53Pegge Hopper 56James Drake 69Michael Hague 72Mark Tansey 72Ramone Muñoz 77Janice Lowry 79Lindsay Dawson 83Theresa Paden 83Patrice StellestVictor Estrada 86Jorge Pardo 88Fandra Chang 87Pierr Morgan 87Ophelia Chong 89 Jennifer Steinkamp 89Yunhee Min 91Chris Finley 93Vanessa Marzaroli 95Edgar Arceneaux 96Nancy Popp 97Lisa Lapinski 02Renee Lotenero 02Jeff Soto 02Tiffany Trenda 02 Eddy Vajarakitipongse 02Ronald J. Llanos 03 Nina Waisman 04Grant Vetter 05Nery Lemus 07Elleni Sclavenitis 07Ashley Landrum 08Ana Serrano 08James Haksun Kim 11Sally Kim 12 Brian Child 13 Kristy Lovich 13

control-room.org

Evelena Ruether was studying commercial photography at ArtCenter and William Kaminski’s focus was painting when they discovered their individual passions for the creation of and conversation about installation art. “Basically, everything that I was interested in,” says Kaminski, “was allowed in the room.” They recall fellow students being an integral part of that discovery process. “The sense of community that you build at ArtCenter is really important,” Ruether observes.

“Those are the artists that you’ll eventually show with, or be supported by, or work alongside.” In 2010, she and Kaminski—good friends and sometime collaborators—co-founded a downtown Los Angeles art space, Control Room. “The moti-vation,” Kaminski adds, “stemmed basically from how excited we felt about the work of our peers in our ArtCenter classes.”

Evelena Ruether andWilliam Kaminski BFA 07

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108

artcenter.edu/graphic

Graphic D

esignPainting & Illustration track

Term 1Writing Studio OR Writing Studio: Intensive 3Re-Thinking Art 3One on One A 1Drawing Concepts 1 3Design 1 (PHO/ART) OR Design 1 (FIL) OR Design 1 (ADT, ILL, GPK) 3Materials of Art & Design 3

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

Term 33rd Term Review 0History of Art 1 OR History of Art 2 3Photography 1 OR Sculpture 1 OR Installation 1 OR Social Practice 1 3One on One C 1Drawing for Illustration OR Analytical Figure Drawing 3

Term 4Critical Practice 1 3Studio Practice 3Defining Your Work 3Composition & Painting 3

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

Term 6Professional Practices for Artists 3Writing About Art 3Studio Visits 3Transdisciplinary Studio 3





11111

0 Graphic DesignNik Hafermaas, Chair

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

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

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

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

Ohsi S

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11311

2 Graphic Design

Jonathan B

ryeans The L

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11511

4 Graphic Design

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11711

6 Graphic Design

Mariko H

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ai Crest reb

rand Packag

e Desig

n 2: B

randing S

ystems / A

nia Bo

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118

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

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

Term 3Intro to Modernism 3Package Design 1: Design Principles 3Communication Design 3: Narrative & Scale 3Type 3: Context 3Visual Interaction Design 1: Generative Design 3

Term 44th Term Review 0Graphic Design History 1 3Package Design 2: Branding Systems 3Communication Design 4: Identity Systems 3Type 4: Editorial Print OR Type 4: Editorial Print for iPad 3Visual Interaction Design 2: Web OR Motion Design 2 3

Term 5Graphic Design History 2 3Communication Design 5: Transmedia 3Information Design 3Visual Interaction Design 3: Advanced Interaction OR Advanced 3D Motion Graphics OR Package Design 3: Interactive Systems 3Type 5: Transmedia OR Type 5: Motion 3

Term 6Mediatecture 3Studio Elective 3Transdisciplinary Studio 3

Term 77th Term Review 0Business 101 3Advanced Transmedia Studio 7 OR Advanced Print Studio 7 OR Sequential Design 3 OR Advanced Package Studio 7 OR Advanced VxD Studio 7 3Studio Elective 3

Term 8Portfolio & Career Preparation 3Advanced Transmedia Studio 8 OR Advanced Print Studio 8 OR Advanced Motion Studio 8 OR Advanced VxD Studio 8 3Studio Elective 2

Additional requirementsStudio electives –Humanities & Sciences electives: Humanities 9 Social Sciences 3 Science & Technology 6 Business & Professional Practice 6


Graphic Design

Alumni includeSandra Higashi 78Douglas Oliver 78Michael Osborne 78Fumihito Sasada 78Mitchell Mauk 79Mark Coleman 80Jeri HeidenTakaaki Matsumoto 80Clement Mok 80Douglas Joseph 81Susie Karasic 82Earl Gee 83Rebeca Méndez 84David Gaz 88David Takeuchi 88Karin Onsager-Birch 91Vic Zauderer 91Hans Neubert 92JoAnn Boutin Schlib 92Kristen Ding 94Chris Do 95Sara Marandi 95Jose Caballer 96Rafael Esquer 96Cody Clark 99 Paulina de la Garza 99Wade Convay 03Dustin Arnold 04Ely Kim 04Everett Katigbak 06Joshua Moore 06Sean Starkweather 06Matthew Encina 07Chris Riehl 07Jana Frieling 08Owen Gee 08Marian Chiao 09Strahan McMullen 09Marshall Rake 09Johana Tran 10Amelia Stier 11Vanessa Lam 11Aldis Ozolins 12Paul Hoppe 13Vina Rostomyan 13Bryce Shawcross 13

danielcyoung.com

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

Daniel C. Young BFA 12

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1ArtCenter College of Design2017–2018 artcenter.edu/illustration

Illustration12

0

123

122 Illustration

Today’s illustrators are image makers and storytellers. Conceptualizers and problem solvers. Provocateurs and culture mavens. Illustration now is moving beyond the literal interpre- tation. It is creating mood and atmosphere, communicated via accom-plished personal technique, for an array of commercial and social impact projects. Illustration connects everything from high fashion and retail environments to animation and computer games; from political, editorial and street art to mainstream publishing. Illustration’s unique ability to define social, political and cultural ideas makes it an ideal solution for an unparalleled scope of creative and communications projects. At ArtCenter, you certainly master drawing skills. But you also increase your business knowledge and develop your understanding of illustration’s impact on contemporary culture. After a thorough grounding in foundation classes you focus on a curricular track that best suits your talent and career objectives. Illustration Design blends hand and digital practice for licensing, print, publishing and motion.

Illustration for Motion is for students interested in storyboarding and motion design. Illustration/Fine Arts takes imagery beyond illustration to the gallery environment. Enter- tainment Arts prepares you for a fast-paced career in TV and feature animation. And our Surface Design program provides opportunities to explore style and aesthetics in the realm of fashion, textile and apparel design.

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

Ann Field, Chair

AJ D

ungo Z

inester Illustration D

esign L

ab / David T

illinghast


125

124 Illustration

Vivien M

ildenb

erger L

ong

bo

ard Po

rtfolio D

esign L

ab / Ro

b Clayto

n, D

avid Tilling

hast

Dill

on

Car

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umm

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)

Illus

trat

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for

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ense

/ A

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ield

, Chr

isti

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asse

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127

126 Illustration

Sal

ly D

eng

L

os

Doy

ers

L

ond

on

Stu

dy

Aw

ay p

roje

ct /

Ann

Fie

ld, P

aul R

og

ers,

Cliv

e P

ierc

y


129

128 Illustration

Pot

ato

pri

nts

C

raft

Te

chni

que

s /

Chr

isti

ne N

asse

r

Celine K

im T

he Mo

nkey King E

ntertainment S

enior P

roje

ct / Bill P

erkins, Mike H

ump

hries, Paul R

og

ers


130

Entertainment Arts track

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

Term 2Critical Practice 1 3Viscom Fundamentals 1 3Composition & Painting 3Digital Life OR Digital Illustration OR Digital Painting (Photoshop) 3Design 2: Structure & Color 3

Term 3Intro to Modernism 3Creative Perspective 3Drawing for Illustration OR Analytical Figure Drawing OR Inventive Drawing OR Inventive Costume OR Dynamic Sketching for Illustration OR Imaginatomy 3Materials of Art & Design 3

Term 4Advanced Critical Practice 3Sketching for Illustration 3Sketching for Entertainment 3Image & Idea 3Drawing for Illustration OR Analytical Figure Drawing OR Inventive Drawing OR Inventive Costume OR Dynamic Sketching for Illustration OR Imaginatomy 3

Term 5Graphic Design History 1 OR History of Art 1 OR History of Art 2 OR History of Art 3 OR History of Illustration 35th Term Review 0Graphic Design for Entertainment Arts OR Digital Landscape 3Visual Development 3Color and Story 3

Term 6Storyboarding 3Style Development OR Historical Env Matte Painting 3Background Painting/Animated Film 3

Term 7Inventive Character OR Introduction to Matte Painting 3

Term 8Business 101 3Portfolio Design Lab 3



Fine Arts Painting track

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

Term 2Critical Practice 1 3Drawing Concepts 1 3Composition & Painting 3Media Experimentation 3Design 2: Structure & Color 3

Term 3Advanced Critical Practice 3History of Art 1 OR History of Art 2 3Painting 1 3Drawing for Illustration OR Analytical Figure Drawing 3Materials of Art & Design 3

Term 4Intro to Modernism 3Intro to Printmaking 3Sketching for Illustration OR Portraiture 3Image & Idea OR Re-Thinking Art OR Studio Practice 3Color Theory 3

Term 5Defining Your Work 35th Term Review 0Painting Projects 3

Term 6Advanced Portraiture OR Sculpture 1 OR Installation 1 OR Video 1 3

Term 7History of Art 3 3Studio Visits 3

Term 8Professional Practices for Artists OR Business 101 3Portfolio Design Lab 3



Illustration Design track


Term 2Critical Practice 1 3Drawing Concepts 1 3Composition & Painting 3Digital Illustration 3Design 2: Structure & Color 3

Term 3Intro to Modernism 3Drawing Projects 3Drawing for Illustration 3Materials of Art & Design 3Expressive Type OR Type 1: Letterforms 3

Term 4History of Illustration OR History of Art 1 OR History of Art 2 OR History of Art 3 OR Graphic Design History 1 3Sketching for Illustration 3Image & Idea 3Illustrative Storytelling 3Color Theory 3

Illustration

Alumni includeRobert Peak 51Philip Hays 55Ralph McQuarrie 56Barron Storey 61Bart Forbes 63James Dietz 69Drew Struzan 70Nancy StahlDavid Kaiser 75Richard Bunkall 76Lawrence Carroll 80James GurneyJeffrey Smith 80Katherine Altieri 81Marla Frazee 81Philip Hettema 81Joel Nakamura 82Matt Mahurin 82Tim Haskin 84 Betsy Everitt 86Kendal Cronkhite 87Mark Ryden 87Calef Brown 88Robert Clayton 88Laura Phillips 88Aaron Smith 88Owen Smith 88 Sandra Christensen 89Mark “Crash” McCreery 89Douglas Aitken 91Christian Clayton 91Salomón Huerta 91Allyn Bruty 92Bruce Heavin 93Mark Todd 93 Lisa Kim 94Esther Pearl Watson 95Mike Shinoda 98Ernesto Nemesio 00Martha Rich 00Tara McPherson 01Rachell Sumpter 03Andrew Hem 06Sarah Awad 07Eric Nyquist 07Patrick Hruby 10

arielleeart.com

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

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Interaction Design

Term 5Advanced Critical Practice 3Intro to Printmaking OR Printmaking 3Illustration Design OR Typography 2: Structure OR Portraiture OR Nude Body 3Illustration Design Lab 35th Term Review 0

Term 6Illustration for Publishing OR Typography 3: Context OR Children’s Book Illustration 3

Term 7Notorious OR Advanced Portraiture 3




Motion track


Term 2Critical Practice 1 3Drawing Concepts 1 3Composition & Painting 3Digital Illustration OR Digital Painting OR Digital Life 3Design 2: Structure & Color 3

Term 3Intro to Modernism 3Motion Design 1 3Storyboarding 1: Design and Sequencing 3Drawing for Illustration 3Expressive Type OR Type 1: Letterforms 3

Term 4Graphic Design History 1 OR History of Art 1 OR History of Art 2 OR History of Art 3 OR History of Illustration 3Typography 2: Structure 3Sketching for Illustration 33D Motion Graphics 3Storyboarding 2: Live Action 3

Term 5Advanced Critical Practice 3Image and Idea 3Motion Design 2 35th Term Review 0

Term 6Typography 3: Context OR Communications Design 1: Primer 3Advanced 3D Motion Graphics 3Storyboarding 3: Adv Design & Sequencing 3

Term 7Studio OR H&S Electives 0




Surface track


Term 2Critical Practice 1 3Composition & Painting 3Craft Technique Surface Design 3Design 2: Structure & Color 3Materials of Art and Design 3

Term 3Intro to Modernism 3Drawing for Illustration 3Intro to Textile/Surface Design 3Pattern and Style for Surface Design 3Expressive Type OR Type 1: Letterforms 3

Term 4Advanced Critical Practice 3Surface Design 1 3Image & Idea 3Color Collections for Surface Design 3Surface Design Lab 3

Term 5History of Illustration OR History of Art 1 OR History of Art 2 OR History of Art 3 OR Graphic Design History 1 3Intro to Printmaking 35th Term Review 0Illustration for License 3Advanced Surface Design Digital Print 3Sewing Lab 3

Term 6Fashion Drawing 1 OR Illustration Internship OR PENSOLE Footwear Design Program OR London Ancient/Modern 3Experimental Collection Strategies for Surface Design 3Product Design 4 3

Term 7Business 101 3Art Direction for Surface Design 3

Term 8Portfolio Design Lab 3

Additional requirementsStudio electives –Humanities & Sciences electives: Humanities 9 Social Sciences 3 Science & Technology 9 Business & Professional Practice 6


135

134 Interaction DesignMaggie Hendrie, Chair

Interaction design is all around us—mobile apps, wearable technology, games, websites, social networks, art installations and public spaces are just a few examples—and experiencing a period of tremendous growth. If you’re interested in designing interactions that are useful, innovative and delight-ful, there’s no better training ground than ArtCenter.

We have a rich history in interaction design at the College, spanning the fields of graphic, transportation, entertainment, industrial and media design. ArtCenter alumni design everything from mobile apps and websites to video games and automotive interfaces. Our graduates hold lead-ing positions in companies like Apple, Google, Microsoft and IDEO.

Our Interaction Design degree program is dedicated to creative inno-vation and professional leadership. We have crafted a course of study in which you think deeply about the user’s experience, apply technology creatively and invent new approaches to interaction and design. Our curriculum emphasizes core methods, tools and processes that prepare you to lead as new technologies emerge.

But it’s not all about technology. After all, people interact with every object or system in our world, be they human-made or natural. In our program, you focus on the user expe-rience and study how people think, feel and behave when they use any digital product, environment or system. By considering human factors, cog- nitive sciences and psychology, you learn how to design cohesive systems that can deeply impact people’s lives.

And that’s a skill that can have lifelong applications.

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Term 1Writing Studio OR Writing Studio: Intensive 3Viscom Fundamentals 1 33D Fundamentals 1 3Design 1 3Interaction Design 1 3Digital Basics: Lynda.com 1Interactive Design & Dev. 1: Web Design 3

Term 2Human Factors & Design Psychology 3Way Things Work 3Viscom Fundamentals 2 3Design 2: Structure & Color 3Interaction Design 2 3Interactive Design 2: Interface 3

Term 33rd Term Review 1Intro to Modernism 3Digital Electronics 3Art of Research 3Interaction Design 3 3Interactive Design 3: Inform/Interact 3Communication Design 2: Context 3

Term 4History & Futures of Interaction Design 3Materials & Exploration 3Interaction Design 4: Ecosystems 3Information Design 3Interactive Design 4: Interaction Design 3

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

Term 66th Term Portfolio Review 1Branding Strategies 3Interaction Design 6-Senior Project 3IXD Topic Studio 3Transdisciplinary Studio 3

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

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

Additional requirementsStudio electives 12Humanities & Sciences electives: Humanities 6 Social Sciences 3 Science & Technology 6 Humanities, Social Sciences, Science & Technology OR Business & Professional Practice 3 Business & Professional Practice –


Interaction Designinaesong.com

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

Inae Song BS 16


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Photography and

Imaging

147

146 Photography and ImagingDennis Keeley, Chair

Given the unprecedented changes in technology and new avenues of com-munication in the 21st century, the Photography and Imaging program at ArtCenter recognizes the advances in cameras, hardware, software pro-duction and image distribution as a new opportunity. Photography contin-ues to drive many of the social and cultural solutions to how the world connects with entertainment, politics, fine art, commerce and community. As a result, professional imagemakers are challenged to be much more origi-nal, strategic, technically capable, conceptually collaborative, ethically responsible, and culturally aware than ever before.

Within a rich transdisciplinary educa-tional environment, the Photography and Imaging Department is taking photographers into the future. For decades, along with ArtCenter’s other disciplines, our program has addressed the present demands for art and design while always looking toward the future. It provides the most creative answer to the ever-changing landscape of commercial, fine art and design practices and these strat-egies continue to open professional doors for countless graduates.

Our department offers an intimate and intense atmosphere of study that challenges all the assumptions about the medium. The faculty nurtures and promotes originality and creative expression and encourages individual excellence in every student assign-ment. Whether your goal is to become a commercial photographer, an artist or both, in your time at ArtCenter you will learn to apply all the tools of pho-tography, both digital and traditional, with great skill and personal direction. Our program stresses conceptual innovation and social awareness aligned with the integration of profes-sional skills and strategies, strength- ening our students’ readiness for their future, dynamic careers.

Images are the new global docu-ments. They represent a new literacy and currency of our time and will continue to be the most essential component for all the compelling stories in an endlessly expanding image-centric world.

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Term 1Writing Studio ORWriting Studio: Intensive 3Design 1 3Concept 3Imaging 1 3Advanced Photographic Processes 1 3

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

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

Term 4Advanced Critical Practice 3History of Photo 2 3Architecture 3Fine Art Photography 3Still Life 1 OR Product Photography 3

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

Term 6Marketing & Self Promotion for Photography 3Portfolio Development 3Transdisciplinary Studio 3

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

Term 8Final Crit 3



Photography and Imagingpedenmunk.com

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

Alumni includeSid Avery 38 Herman Wall 38 Pedro E. Guerrero 40Wayne Miller 41 Marvin Rand 48Lou Jacobs 50 Howard Zieff 50 Dick Ham 51 Lee Friedlander Charlie White 59 Co Rentmeester 65 Gregory Booth 70 Charles Bush 71Sally Andersen-Bruce 73 Christopher Callis Hiroshi Sugimoto 74 Alison Morley 78 Matthew Rolston Mark Arbeit 79 Victoria CameronGeorge Holz 80 Jon Kubly 80 Just Loomis 80 Norman Mauskopf 80Victoria PearsonAndrew Bernstein 81James Wojcik 81 Richard Eskite 82Russ Widstrand 82Van Evers 86 George Nicks Ann Cutting 87 Everard Williams 89Melodie McDaniel 91 Myriam Negre Sonja Pacho 96 Alessandra Petlin 02 Anna Wolf 02 Joseph Llanes 06 Bartholomew Cooke 07 Nicholas Alan Cope 07 Spencer Lowell 07Jen Rosenstein 08 Richard Choi 09 Zhe Chen 11 Eleanor Stills 12

Taylor Peden andJen Munkvold BFA 07


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Product D

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158 Product DesignKaren Hofmann, Chair

While the core of what we do as prod-uct designers involves understanding people’s needs, identifying opportunities for innovation, visualizing ideas and realizing solutions, it’s imperative that we understand and embrace the limitless array of opportunities we have to shape our future. As the role of design continues to expand and diversify, emerging tech-nologies and platforms for innovation are enabling “design entrepreneurs” to take ideas from concept to market-place. And design is increasingly recognized as crucial to achieving commercial and organizational suc-cess, and vital in improving lives. Product Design at ArtCenter provides you with a foundation in the design process, grounded in a human-centered approach and in professional practice. This ethos is crystallized in the Department’s many social impact projects created in collaboration with the Designmatters Department.

Along with core visual, creative, technical and analytical skills, our program helps you gain a comprehen-sive understanding of design research methodologies, business principles, materials technologies, manufacturing processes, global trends and sustain-ability through our state-of-the-art research lab, CMTEL (Color, Materials and Trends Exploration Laboratory). In addition, we offer a highly focused, advised area of concentration, Wearables and Soft Goods, offering courses in sewing, wearable technol-ogy, footwear, apparel and acces- sories design.

Our partnership with the international business school INSEAD enables students interested in the intersection between design and business to immerse themselves for a semester in an MBA program. Students also benefit from participation in DesignStorms® and other Sponsored Project courses commissioned by corporate partners seeking to explore new frontiers in design and innovation. Good design is about combining functionality, relevance and commercial viability with visual and emo-tional appeal in a marketplace that demands products that minimize environmental impact, from produc-tion to disposal. You emerge from our program prepared to meet these needs on both local and global scales, having developed the tools to visualize the future and the skills to become a creative leader.

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Term 1Writing Studio OR Writing Studio: Intensive 33D Fundamentals 1 3Study Models 2Way Things Work 2Design Fundamentals 1 3Visual Communication 1 3Product Design 1 3Product Design 1 Lab 0

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

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

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

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

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

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

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



Product Design

Alumni includeWilliam Davidson 57Kenji Ekuan 57Takuo Hirano 57Gordon Bruce 72Peter Yee 72Daniel Ashcraft 73Marni Gerber 85Frank Nuovo 86Al Van Noy 87Bill Worthington 88Yves Béhar 91Thomas Meyerhoffer 91Sigi Moeslinger 91Javier Verdura 91 Habib Zargarpour 91Rob Bruce 93Gary Schultz 93Bobby Chang 94Markus Diebel 94Tylor Garland 94Jon Guerra 94Wilhelm Oehl 94Jeff Salazar 94Joe Tan 94Ian Sands 95Mike Simonian 95Steve Takayama 95Carl Liu 96Rico Zorkendorfer 96Nasahn Sheppard 97Claude Zellwegger 97Eric Chen 98Niklas Gustafsson 98Kenneth Jewell 98Richard Pelletier 98 Oliver Seil 98Gretchen Wustrack 99Dave Dombrow 00Joel Bell 01Leonard Wozniak 01 Agnete Enga 02Laura Dye 03Heather Emerson 04Eric Burns 07Katie Dill 07Audrey Liu 07Nathan Cooke 08Spencer Nikosey 08John Phillips 10 Jessie Kawata 11 Vinh Pho 11 Mariana Prieto 12Andrew Kim 13

nike.com

Martin Lotti, vice president and global creative director at Nike, got his start at the company by applying for an intern-ship. He was surprised when Nike called back and asked him if he’d rather have a job. “I said, ‘Well, let me think about this really, really hard,’” he laughs. During his nearly two-decade tenure since then, Lotti has been called “one of the most gifted designers of his generation” (by Ultan Guilfoyle, curator of the Solomon R. Guggenheim Museum) and was selected by Fast Company for its 2016 “Most Creative People” list. He served as creative director for the London 2012 Summer Olympics and women’s training; and, as vice president and global creative director of global football, Lotti led the cre-ative efforts for the 2014 World Cup in Brazil, 2015 Women’s World Cup in Canada, Copa América Centenario 2016 and Euro 2016. In his current role at the company, Lotti is respon-sible for the creative direction of all 11 Nike categories, from running to basketball. He appreciates how Nike’s holistic approach to creative thinking extends beyond simply making products. “Don’t get me wrong, my heart always skips a little faster when I see one of my projects come to live in the world,” says Lotti. “But I never would have imagined that one day I’d be just as interested in the business aspect as the design aspect.”

Martin Lotti BS 97

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Transportation Design

17117

0 Transportation DesignStewart Reed, Chair

The challenges facing the transporta-tion and automotive industry present tremendous opportunities for the next generation of transportation design-ers. ArtCenter has long served as a globally recognized catalyst for inno-vation. Many of our students have become passionate problem solvers focused on developing solutions to address these challenges. They’re participating in the innovation econ-omy, tackling problems yet to be articulated, and reshaping the future.

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

Known for more than its longstanding influence in automotive design, our program helps prepare you for a career in all modes of transportation. In addition to traditional elements of styling, comfort, safety and usability, our curriculum emphasizes vital top-ics such as sustainable mobility, the implications of brand, and product life cycle. Our program can help you gain fluency in drawing and in physical and digital modeling skills, as well as develop an understanding of vehicle architecture, materials, process and aerodynamics.

We also offer two highly focused, advised areas of concentration: Vehicle Interiors (including user interface and user experience) and Alternative Transportation (including motorcycle, marine, aircraft, personal mobility and public transit).

Exploring the balance between form and function, our program presents an opportunity for you to develop your ability to create vehicle concepts with distinct personality, improved function and broad social impact.

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Term 1Writing Studio OR Writing Studio: Intensive 3Viscom Fundamentals 1 33D Fundamentals 1 3Design Process 1 3Study Models 3Design Fundamentals 1 3 Design Fundamentals 1 Lab 0

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

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

Term 4History of Automobile Design 33D Digital 4 3Transportation Studio 4A 3Transportation Studio 4A Lab 0Transportation Studio 4B 3Vehicle Technology 4 2Viscom Fundamentals 4 3

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

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

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

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

Additional requirementsStudio electives 9Humanities & Sciences electives: Humanities – Social Sciences 3 Science & Technology 9 Business & Professional Practice 3


Alumni includeStrother MacMinn 35Richard “Dick” Teague 50Robert CumberfordRonald Hill 54Larry Shinoda 54Peter Brock 56Willie G. Davidson 57Chuck Pelly 58John J. “Jack” Telnack 58 Syd Mead 59Wayne Cherry 62Géza Lóczi 65Larry Wood 65Glade Johnson 69Hiroshi Ishibashi 71Thomas Tremont 71Tom Peters 79David Robb 79J Mays 80 Christopher Bangle 81John Bell 81Shiro NakamuraFreeman J. Thomas 83Frank Saucedo 84Luc Mayrand 85Miguel Galluzzi 86Grant Larson 86Ken Okuyama 86Frank Stephenson 86 Dave Marek 87Christopher Chapman 89Henrik Fisker 89Harald Belker 90Chip Foose 90Luc Donckerwolke 91Greg Brew 91Eric Barba 92Darren Gilford 92Franz von Holzhausen 92Jette Joop 92Derek Jenkins 93 Bryan E. Nesbitt 93Jae Min 94Tisha Johnson 99Sang-Yup Lee 99Jason Castriota Richard Kim 04Christine Park 06

nsx.acura.com

Michelle Christensen grew up in San Jose, California, hanging out in the garage with her dad while he worked on muscle cars. In junior high she discovered car design, and was excited by its perfect melding of her interests in design, cars and working with her hands. After moving to Los Angeles she took an ArtCenter at Night course, generating an impressive portfolio of car renderings, and was admitted to the Transportation Design program to study car design full-time. While a student, Christensen began working on a groundbreaking design that caught the attention of Acura recruiters. Immediately after graduating, she was hired by Acura and became that company’s first female exterior car designer. Her class project eventually became the 2010 Acura ZDX crossover vehicle. She then became the first woman to design a supercar, overseeing the exterior design of Acura’s smash-hit 2016 NSX. Christensen says, for her, gender is not really an issue. “My work is unisex—that’s what I strive for. I don’t want it to look like a chick car or a dude car, I just want it to look sexy or badass or whatever it is. I’m really just trying to make something cool.”

Michelle Christensen BS 05

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Adm

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AdmissionsArtCenter College of Design2017–2018

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3 Submit the nonrefundable application fee. The fee is $50 for U.S. citizens and permanent alien

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

4 Submit your official high school and college transcripts.

– Request that your transcripts be sent directly from your high school and/or college to the Admissions Office. Once submitted, all docu-ments become the property of ArtCenter 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 trans-cripts for those still enrolled. Students must have completed or anticipate completing high school or a G.E.D. prior to their enrollment. Home-schooled students should submit transcripts that include course titles, grades, credits and signature of the home-school administrator.

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

– International transcripts that are not provided in English directly from the issuing institution must be presented both in the original language form and translated into English by a translation agency or translator.

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

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

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

– Undergraduate applicants who have not completed high school or a bachelor’s degree program in which the language of instruction was English must take the Internet-based TOEFL (iBT) or IELTS. Students who have taken ESL classes in high school may be asked to submit a TOEFL or IELTS. The Admissions Committee may request a test result from any student whose command of English is in doubt based on 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 appli-cation. We do not accept institutional versions of either test.

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

7 Submit a portfolio of your work.

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

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

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

Portfolio requirements by majorAdvertising

Advertising majors should demonstrate innovative thinking with words and images to promote products or ideas through ads. Work should demonstrate a fresh, original way of looking at things, possibly incorporating humor or other means by which the public’s attention is drawn to the ad. Your advertising portfolio work should be clean, clear and well presented, but spend the majo- rity of your time developing interesting, sharp, original, I-never-would-have-thought-of-that ads. The quality of your thinking is more important than the finish.

If you have previous experience in advertising, submit eight to 10 print advertising concepts. These should demonstrate your facility with both copy (words) and visuals. Include preliminary sketches demonstrating your idea-generation process. If you’ve worked in video or other media, include those as well.

If you have no previous experience in advertising, submit at least five pieces that demonstrate your ability to represent your ideas visually, but also include at least five specific advertisements. We’ve created some assignments to help you demonstrate your potential for advertising. You can utilize these assignment sug-gestions below or submit ad assignments of your own devising. Create these through drawings, photography, photocollage, digital images or any combination.

ArtCenter welcomes applications from students who are committed to pursuing a career in the visual arts and design. Our programs are specialized, so appli-cants must carefully consider their choice of major before applying.

Your classmates will be serious and talented. ArtCenter is committed to bringing together a diverse and moti-vated group of students to work with our exceptional faculty—who together create your classroom experience.

Your choice of a college will affect your life and career in significant ways. We hope you will visit us, spend time on our campus, view our student work and be-come familiar with the accomplishments of our alumni and faculty. Our Admissions counselors will guide you through the application process, provide portfolio advice, answer your questions and serve as your admissions mentors.

Applications are evaluated by a committee. They will base their admission decision on a strong portfolio, sound academic record in high school or college, your application essays and other application responses, including background history.

The acceptance process is independent of whether you apply for financial aid.

Degrees offeredArtCenter does not offer a foundation (undeclared major) program. You will choose a major at the time you apply to ArtCenter. We offer 11 undergraduate programs and each curriculum is distinct. It is important that you read about the majors carefully and review their portfo-lio requirements, as they are specific to each major.

Bachelor of Fine Arts (BFA) Advertising Film Fine Art Graphic Design Illustration Photography and Imaging

Bachelor of Science (BS) Entertainment Design Environmental Design Interaction Design Product Design Transportation Design

We encourage students to spend time exploring their choice of major prior to applying to ArtCenter. 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 ArtCenter. You can take the entire program here, or transfer in credits prior to entry.

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

Humanities and SciencesAll ArtCenter 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 pro-grams to foster thoughtful and rigorous inquiry across the College, traversing cultural, historical, literary, philosophical and scientific perspectives. In this way, we ensure that you receive a diverse education, and that upon graduating you have the knowledge required to map an informed individual path.

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

Counseling

Meet with an Admissions counselor for guidance on portfolio preparation and the admissions process. Ses-sions are not formal admissions interviews, but will help you direct your portfolio development. Arrangements can also be made for phone or Skype counseling ses-sions if you email us or post your portfolio work online.

Tour

Tours of Hillside Campus are offered Monday–Friday at 2 p.m. during the academic term. An extension of the tour that includes South Campus is offered several days a week at 4 p.m. Call 626 396-2373 to schedule a tour.

Contact

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

Application requirementsWe recommend consulting the ArtCenter website for any updates to this printed information.

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

1 Complete the application for admission online or download it from artcenter.edu.

2 Complete all required essays described on the application.


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Submit only projects on which you played a key creative role as director, cinematographer or editor; be sure to clearly indicate the role you played on each project. Portfolio work is only accepted via link to Vimeo by indicating your link along with your application. In the written statement accompanying your application, keep in mind that we are particularly interested in learning what inspires you to make films, what sorts of films you want to make, and a brief description of your favorite filmmakers.

Fine Art

Include a representative selection of your work in any media. In addition to submitting examples of foundation skills, also present personal work that reveals experi-mentation 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.

Students seeking the Illustration minor should submit 10–12 figure drawings from the live model.

Graphic Design

Include layouts or comprehensives for graphic design projects, such as posters, brochures, editorial design, package design, motion graphics, Web design and identity systems. Pieces that exhibit communication of an issue, an individual point of view, or a unique approach to a problem are valuable. Provide process work that shows the development and variation of your ideas. Evidence of an understanding of, and passion for, typography is a must. Submit at least eight to 10 pieces or projects.

Samples of logotypes, lettering, life drawing and gen-eral color and design assignments should be included. If submitted work has been produced, attach an expla-nation of the role you played in the creation of the work. Motion work should be uploaded on SlideRoom.

Illustration

Submit 10–15 original figure drawings from a live model that include both gestural and more developed pieces. These should demonstrate proportion and an under-standing of light, shadow and line. Other observational drawings or paintings from life such as sketches of people, self-portraits, animals and scenes from nature and cityscapes should be included.

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

Interaction Design

Your portfolio should demonstrate a keen interest in designing for new technologies and user experience, but also show your personal creativity and vision.

Equal parts thinker and maker, Interaction Design candidates should provide at least three projects that incorporate the following:– Projects that demonstrate interactivity and are

screen-based or physical objects, or both. Each project should include a statement or explanation and sketches that show the development of your ideas, followed by a more finished rendition of your final concept.

– Examples of screen-based projects include: mobile or social applications, websites, gestural interfaces, and games.

– Examples of physical projects include consumer electronics, smart products, art or environmental projects. If you have previously worked on collabora-tive projects that have made it to production, include a statement about your role in the design and any URLs, working versions, videos or multiple images that show how your interactive project works. Your overall goal should be to include examples of work that exhibit an understanding of—and a passion for—user experience.

– Including your process work is an important way for you to show the development of a chosen idea and how you arrived at your solution. Process work can include: sketching, user flows, personas, wireframes and screen shots or mockups. While supporting written explanations are an essential element of your projects, your visual representations should be the primary way you express your ideas.

If you have no previous experience in Interaction Design, consider one or more of the following ideas for a proj-ect to include with other examples of your design work.– Redesign an existing website, mobile app, or other

interfaces and make it better and more user-friendly. Show the elements of your re-design through draw-ings, photography, photo-collage, digital images or any combination of these. Include a wireframe layout through simple line sketches.

– Identify a particular challenge in everyday life and design an app that specifically addresses that need. Demonstrate through sketches.

– Design the interface for a piece of hardware (elec-tronic product) that utilizes technology or interfaces in a new and innovative way. Provide sketches and final ideas.

– Redesign an old and obsolete consumer item using modern technology and interfaces to make it relevant for today’s world. Include an image of the original along with your sketches for the new design.

All applicants should feel free to include other examples of your art and design work such as drawings, graphic design or any sort of personal work.

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

– Create a print campaign that sells you to ArtCenter. – Design a campaign to teach teens the importance

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

chips. Cross out the names and rename the colors. All the names must relate to sleep.

Entertainment Design

There are two individual tracks within the Entertainment Design program. Your portfolio will vary depending on the track you choose. Read the instructions below for the track to which you are applying.

Concept DesignConcept design involves the full range of storytelling, from developing the characters to the architecture, landscape, animals, vehicles and objects in the world of that story. The task of a concept designer for the entertainment industry is to be able to provide an infinite number of design variations of characters, environments, vehicles and props for stories taking place in the past, present or future.

Your admissions portfolio should reflect this interest and provide an example of your current abilities toward this task. Include examples of your original design ideas created for a story of your invention or an existing story. Your main focus should be in the creation of original designs that are well communicated through drawings and renderings.

Examples of your range of skills in the designing of all four of the major subject topics—environments, characters, vehicles and props—should be included in your portfolio. Please include both the early concept design sketches and more finished renderings of your design ideas. It is important to show your thinking process through a range of sketches and renderings that progress from rough to more finished. Emphasis should be placed more on well-drawn original design variations. Sketchbooks are a welcome addition, and can be included as one PDF. In addition, please include at least five figure drawings from a live model.

Character AnimationThe task of a character animator in the entertainment industry is to breathe life into the animated characters that populate the story worlds of feature animation, live action film, TV, commercials and games. Character animators are equal parts artists, designers and per-formers. Your admissions portfolio should reflect this interest and provide an example of your current abilities toward this task.

Whether you are presenting your previous work or creating original work for the portfolio, please include the following elements:– A short, simple paragraph that details a storyline for

an animated narrative.

– At least two characters associated with that storyline, each presented in a series of emotive sketches and/or renderings that depict the character in critical and dramatic points in your storyline. Use these drawings to convey the movements, expres-sions, attitudes and idiosyncrasies that express the character’s personality within the context of the storyline.

– At least five keyframes from your storyline, depicting your characters in critical, dramatic, narrative moments throughout the story’s arc. These drawings should convey a sense for the aesthetic consid-erations surrounding the characters, including environments and objects.

– A one-minute video of you performing one of the characters you have presented. Use your body, gesture, facial expressions and movement to bring the character to life through your performance. Consider using both wide shots and close-ups, where necessary, to capture your performance. No consideration for costume, setting, or dialogue is necessary.

– At least six figure drawings from a live model that include both gestural and more developed pieces.

– Sketchbooks are also encouraged and we recom-mend a limit of 10 to 15 sketchbook pages submitted as one PDF.


Submit 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 archi-tectural design projects. Limited examples of drafting or technical drawing are acceptable, but must be accompanied by 3D representations. Creative design concepts are as important as drawing and model- making skills. A descriptive paragraph explaining the design concept and solution should be included with each project submitted.

Film

Submit at least two completed film or video projects that demonstrate your visual narrative storytelling abilities as a filmmaker. The total running time of the work you submit should be at least five minutes but should not exceed 20 minutes.

Submitted work can include short films of any genre, documentaries, or multiple commercials or music videos, but all work must demonstrate your narrative story-telling abilities. Portfolios must include narrative films; i.e., those with distinct storylines, plot and character development.Your work should also demonstrate com-petency in cinematography, lighting, staging, editing and sound. At least one of your projects should employ sync sound with dialogue.


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Submission dates ArtCenter reviews and accepts undergraduate applica-tions on an ongoing or rolling basis for most undergrad-uate majors until a department is full for any given term. There are no specific application submission deadlines but scholarship applicants may want to meet the priority dates—with the exception of the Entertainment Design major, which has set deadlines of February 1 for the Fall Term and October 1 for the Spring Term.

Check with the Admissions Office for majors that offer starting times in the summer.

Students can be considered for scholarship and financial aid at most times during the admissions cycle, but priority scholarship dates by which to submit the application materials and Free Application for Student Aid (FAFSA) are:

Spring Term: October 1 Summer Term: January 15 Fall Term: February 15 (except Entertainment Design)

If room is unavailable in the term for which you are applying, the Admissions Committee will consider your application for the next consecutive available term.

Notifications, tuition deposit and deferrals

Application notifications

Applicants will be notified of the Admissions Committee’s decision in writing as soon as possible after receipt of all application materials—usually within three weeks. ArtCenter 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 the Student Experience staff.

Students can request a copy of ArtCenter’s Student Handbook, which contains additional policy information. A copy will be provided to all students at Orientation.

Tuition deposit

Upon acceptance, an enrollment agreement form and further instructions will be issued. The completed agreement, along with a $300 undergraduate or $400 graduate nonrefundable and non-transferable tuition deposit, is required to hold your place in the class. Tuition deposits will be accepted until classes are full

for each term; admission does not guarantee a place in the class. A student’s place in the class is not assured until the College has sent the student a written confir-mation of receipt of the agreement and deposit. These are accepted on a first-come, first-served basis until the classes are filled.

The availability of space can change rapidly. Under-graduate students will be offered a place in the next available term if they have been accepted but no space is currently available.

Deferrals

Accepted undergraduate applicants, with the exception of Entertainment Concept Design majors, can defer their admission for one consecutive term following their acceptance (provided there is room). The tuition deposit will apply only to the term of original acceptance; only the acceptance, not the deposit, can be carried over. A new deposit is required for the subsequent term; each fee is nonrefundable. Graduate students cannot defer their acceptances.

Readmission

Students who have been absent from ArtCenter without a leave of absence are subject to readmission proce-dures. Please contact the Admissions Office at 626 396-2373 for further information.

Your program of studyMost students will enroll in a program that takes a minimum of eight 15-week terms (semesters). Students entering the Bachelor of Science degree programs should expect the possibility of eight to nine semesters for completion. There are three scheduled terms in each academic year: Fall, Spring and Summer.

Students can attend one, two or three terms per year, depending on the rate at which they want to complete the program. Students who attend year-round for three terms can finish in a minimum of two years and eight months—with the exception of Entertainment Design students, who attend studio classes in the Fall and Spring terms only; Summer terms may be taken off, or students may take Humanities and Sciences classes.

Transfer students

Students who have completed studio course work at another college that parallels the major course work at ArtCenter 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 ArtCenter’s requirements and comparable credits taken at another college.

Photography and Imaging

Submit a minimum of 12–15 black-and-white, color or digital images. Do not submit black-and-white exclusively.

Photos should reflect a connection between idea and technique and display the applicant’s strengths in implementing an original image and vision.

Photos should include original imagery, not only shots of existing places or things. A variety of subjects and concept explorations are encouraged, but submissions must include shots of people as subject matter. Projects and series can also be included.

Product Design

Product portfolio submissions should demonstrate a passion for problem solving, the ability to explore mul-tiple creative ideas through sketches and, if available, through models or prototypes. Concepts should be presented in sketches that clearly define their forms and their functions. Skill of presentation as well as the quality of the design solutions are important. Emphasis should be on the function of the product as well as the aesthetic development and originality of the design.

Submit a minimum of three to five comprehensive proj-ects that showcase your design process from start to finish. These projects can come from a variety of fields including: soft goods and wearables; medical devices; sustainability and packaging; consumer electronics; furniture and lighting; house- and kitchen-ware; toys and learning; humanitarian relief; and sporting goods.

For each project include: 1) An introductory statement that describes the need and goals for the product; 2) Research highlights that identify insights and opportunities; 3) Exploratory sketches that show a variety of creative solutions for each of the developed concepts; 4) Intermediate sketches that highlight your decision- making process and aesthetic development; and 5) Final renderings or drawings of your design solutions or models/prototypes, if available. These should make clear the benefits to the user. Each project should be grouped as a separate PDF. For consistency, identify each page by adding titles, brief descriptions, dates and your name. If submitting group projects, clearly state your role and responsibilities in the design process.

You can also include scanned sketchbook pages that highlight other product ideas; drawing from life; user scenario ideas; clippings; apparel designs; material or spatial relationship ideas; or any other design-related topics. We are interested in understanding where your curiosity takes you and the other topics into which you have been delving.

Transportation Design

Portfolio submissions should demonstrate a passion for, and curiosity about, the future of transportation, including cars, trucks, public transportation, boats, motorcycles or alternative mobility. Designs of interiors are encouraged. Submit four to five complete projects

that show your original transportation design concepts through a series of sketches. These should represent a variety of vehicle types.

Inclusion of designs for nonvehicular products is encouraged. Drawing (non-digital) should be the primary means for communication of ideas. For each project include: 1) An introductory statement that describes the title, goal, and audience; 2) Research highlights that identify insights and markets; 3) Exploratory sketches that show a variety of creative solutions for each of the developed concepts; 4) Intermediate sketches that highlight your decision-making process and aesthetic development; and 5) Final renderings or drawings of your design or models/prototypes, if available. Develop- mental sketches are the key elements and should be the focus of each project. Inclusion of informal sketches (loose or in notebook form) that show idea development is highly recommended, and these can be scanned and grouped on a PDF. Group each project as a separate PDF if using SlideRoom.

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

1 SlideRoom (Web-based). Our preferred method for submission is through SlideRoom. Upload your portfolio images at artcenter.slideroom.com. Slide-Room 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 Nonreturnable printed portfolio. Size limit is 11˝x17˝ maximum, including the envelope or covering. This can include a presentation format or simply individual samples of the work. This format works well for the design disciplines in which presentation or project formats are appropriate. Copies from a sketchbook can be included in this format along with the port-folio. Work will not be returned. Mail to: Admissions Office, ArtCenter College of Design, 1700 Lida St., Pasadena, CA 91103.

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

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


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For a detailed description of eligible transfer credit by category, visit the Admissions section of artcenter.edu.

Arrival and housingWe hope that you will call on the Center for the Student Experience staff to help with questions or needs relat-ed 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 ArtCenter does not offer on-campus housing, the Center for the Student Experience coordinates infor-mation regarding local housing and roommate options on the housing website at offcampushousing.artcenter.edu. This resource lists a variety of living arrangements including rooms within homes, guesthouses, apartments and houses for rent.

ArtCenter arranges with Universal Student Housing (USH) to make their listings available to ArtCenter students. USH lists affordable housing in the homes of approved local families and individuals.

Students are also invited into a private Facebook com-munity to connect with future classmates.

New student orientation and class scheduling

New students attend a mandatory Orientation program held the week before the first day of the term. The Orientation schedule will be sent the month prior to the start of the term to students who have submitted their tuition deposit.

Students will prepare for their ArtCenter 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 addi-tion, students will receive access to their schedule of classes and officially register for their first term.

Tuition and fees Tuition

ArtCenter’s Fall 2016, Spring 2017 and Summer 2017 undergraduate tuition is $20,023 per term. Each term’s tuition covers a full-time program (12–19 units). For current tuition rates, contact the Admissions Office. Students should expect tuition increases on an annual basis, with increases occurring in the Fall Term.

Tuition is due the Friday of the first week of classes. You can pay by check, credit card or cash. If you choose not to pay the full amount of your tuition during that first week of classes, you will be charged a $75 nonrefundable installment charge and can submit your tuition in three installments.

Universal access fee

A $275 fee is charged each term to all students for access to ArtCenter labs and shops. Fees are subject to change and are refundable on the same schedule as tuition.

Living expenses and supplies

ArtCenter does not currently offer dormitories, and living costs vary greatly based on the type of housing the student chooses. However, we estimate a gener-ous average amount for rent and food per term to be $6,700 for students not living at home. Students should allow an average of $1,800 for personal expenses, $1,400 for transportation, and $2,000 for supplies each term. The supply amount is variable by major and individual projects. At the start of each term, individual instructors provide students lists of necessary supplies.

ArtCenter student health insurance

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

Financial aidWe encourage all students who need financial assistance to apply for aid. Applying for financial aid in no way affects your admissions decision. See the ArtCenter website for full information on financial aid policies.

Application Procedure

1 For a financial aid brochure that outlines the various financial aid opportunities, call the Admissions Office at 626 396-2373 or visit artcenter.edu for full information on financial aid.

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

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

Financial aid and scholarships

Financial aid for U.S. studentsSubmit the FAFSA in January, if possible, regardless of the term for which you are applying, to be considered for all forms of aid, including scholarships. You can continue to submit the FAFSA at any point during the year, but some programs, such as Cal Grants, have once-a-year deadlines. The Cal Grant, for students who attended high school in California, has a FAFSA and grade point verification deadline of March 2.

By submitting your FAFSA, the Financial Aid Office can consider your eligibility for programs such as the Fed-eral Pell Grant, Federal Work Study, Federal Stafford Loans and ArtCenter scholarships. The Financial Aid office will notify you of your aid after your acceptance.

Awarding of studio credit, not Humanities and Sciences credit, determines the length of the program. For more information, see the “Academic Credits” section that follows.

International students

ArtCenter welcomes international students and the cultural diversity they bring to our campus. ArtCenter courses are conducted in English, and undergraduate applicants with a native language other than English may be asked to take the TOEFL or IELTS and must score at least 80 on the Internet-based TOEFL (iBT) or a 6.5 on the IELTS. Details are included in the Application Requirements section.

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

Veterans

ArtCenter is approved for veterans’ study under several GI bills, including the Yellow Ribbon program. Veterans should contact the Financial Aid Office at 626 396-2215 for information.

Special nondegree student status

ArtCenter occasionally admits students to its Special Status program. The program is intended for students who have had significant work and educational experi-ence. These students are allowed to attend ArtCenter classes for up to three terms on a nondegree basis. The Special Status program is available at both the under-graduate 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 ad-missions 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. Stu-dents cannot normally transfer to the degree program once enrolled as non-degree students. Special Status students are generally not eligible for financial aid or scholarships.

Academic creditsTransfer credit

A maximum of 60 units of studio and academic credits may be transferred from another accredited institution. ArtCenter recognizes two types of transfer credit: credit for studio art classes, and credit for Humanities and Sciences (liberal arts) classes.

Receipt of studio transfer credit, not Humanities and Sciences credit, determines the length of a student’s program at ArtCenter. 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). ArtCenter does not offer studio art credit for AP classes or College Level Examination Program (CLEP) exams. Up to 12 credits may be offered based on professional work experience.

All studio and Humanities and Sciences transfer credit must be finalized by the end of a student’s first term at ArtCenter. New transfer credit will not be accepted after the student has enrolled in the degree program.

It is the student’s responsibility to provide final official transcripts from all colleges attended. Credit will not be awarded based on unofficial transcripts or transcripts from colleges not previously disclosed on the applica-tion for admission.

Studio art credit

Studio art credit is awarded based on a combination of portfolio work and prior college credit. Portfolios are evaluated for studio credit at the time of admission. In addition to credit for prior college work, students may also be granted a maximum of 12 credits based on professional work experience.

A transfer 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 trans-ferred does not affect the length of the program but will lighten the course load.

Studio courses taken through ArtCenter at Night, ArtCenter’s nondegree continuing education program, are considered for transfer if the course is listed as transferable at the time of entry, is applicable to the major and if a grade of “B” or better is achieved.

Humanities and Sciences credit

While specific required Humanities and Sciences courses within your major must generally be taken through the ArtCenter degree program, a number of elective units may be fulfilled through transfer credit. These vary by major. ArtCenter requires a specific distribution of Humanities and Sciences courses for graduation.

Credits accepted for transfer must fall into these categories: Humanities, Social Science, Science and Technology, and Business and Professional Practices.

Credit is transferable for Humanities and Sciences courses taken at another accredited college in which a grade of “C” or better for electives and “B” or better for required courses has been achieved.


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0who entered in Fall 2009 was 68 percent. (This infor-mation does not include transfer, exchange or special nondegree students.) For further information, please call Enrollment Services at 626 396-2316.

Changes to policies, procedures and feesArtCenter reserves the right to change or modify tuition, fees, the calendar, or discontinue or modify course of-ferings, majors, graduation requirements, rules, policies and procedures as it deems necessary or appropriate. Students will be provided with notice of these changes whenever possible through means such as the College website, posted notices or the Student Handbook. No exceptions may be made to any of the academic or academic-related policies. No representation by any College employee to the contrary may be considered authorized or binding.

For comprehensive and updated academic information, visit artcenter.edu.

Academic calendar 2016

Fall Term

September 6–9 Orientation September 10 Classes begin November 11 Veterans Day holiday November 24–27 Thanksgiving holiday December 17 Classes end

2017

Spring Term

January 10–13 Orientation January 14 Classes begin January 16 Martin Luther King, Jr. holidayApril 22 Classes end

Summer Term

May 9–12 Orientation May 13 Classes begin May 29 Memorial Day holiday July 4 Independence Day holiday August 19 Classes end

Fall Term


2018

Spring Term


Summer Term

May 8–11 Orientation May 12 Classes begin May 28 Memorial Day holiday July 4 Independence Day holidayAugust 18 Classes end

Scholarships for U.S. and international studentsArtCenter’s own scholarships are limited in number and are awarded to students who demonstrate financial need and show exceptional potential in their portfolio and ac-ademic 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. Inter-national students submit admissions materials only.

Priority scholarship dates Summer Term: January 15 Fall Term: February 15 Spring Term: October 1

Notification of scholarship awards Accepted applicants who meet the priority dates will be notified by: Summer Term: March 1 Fall Term: April 1 Spring Term: November 15

If you miss these priority dates, scholarship funds may still be granted on an as-available basis, and other forms of aid, such as Federal Stafford Loans and Federal Pell Grants, may be available as well. Applicants will be notified of scholarship awards on a rolling basis at the time of admission.

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

Academic informationTerms/semester system

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

Course load

Degree programs are full-time only, requiring a course load of between 12 and 19 units per term. Permission must be obtained to drop below 12 units or for course load to exceed 19 units. However, students can enroll in a part-time term, called ArtCenter Lite (ACL), two times during their course of study. Entering students cannot start their studies with an ACL term. Graduation from ArtCenter is based upon successful completion of the curriculum of the department to which the student was admitted. This is estimated to take a minimum of eight terms, depending on availability of classes and amount of transfer credit awarded.

Schedules

Class schedules are arranged so that many subjects are taught in blocks once a week. Many classes are from 8 a.m. to 1 p.m. and from 2 to 7 p.m. Some classes are scheduled in the evening and on Saturdays. Human- ities and Sciences classes normally meet at 9 a.m or at 1, 4 or 7 p.m. on weekdays, and occasionally on Saturdays. Independent-study courses are available by special permission.

Change of major

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

Awarding of degrees

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

Institutional disclosures and policies

For the most current and complete list of disclosures and policies, visit artcenter.edu.

Family Education Rights and Privacy Act (FERPA)ArtCenter complies with the Family Education Rights and Privacy Act (FERPA) and its accompanying regula-tions, which afford students certain rights with respect to their education records. To view the complete FERPA policy, please visit artcenter.edu.

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

Disability policyArtCenter complies with the Americans with Disabilities Act, Section 504 of the Rehabilitation Act, and state and local requirements regarding students and appli-cants 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 ArtCenter is able to accommodate students with disabilities, please visit artcenter.edu.

Clery Act and Student Right-to-Know ActArtCenter 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 Chief of Campus Security and on our website with our crime statistics available through the U.S. Department of Education at ope.ed.gov/security.

Graduation ratesThe Student Right-to-Know Act mandates that all institutions disclose their retention rate and six-year graduation rate. The first-year retention rate for first-time freshmen who entered in Fall 2014 was 76 percent. The six-year graduation rate for first-time freshmen


2At a glance

Year founded1930

AffiliationPrivate, nonprofit institution

Applications acceptedSpring, Summer and Fall for most majors

Terms (semesters)Three 15-week terms per year

Undergraduate enrollment1,915 (50% men, 50% women)

Undergraduate enrollment by program Advertising 63 Entertainment Design 130 Environmental Design 73 Film 103 Fine Art 70 Graphic Design 283 Illustration 605 Interaction Design 32 Photography and Imaging 108 Product Design 195 Transportation Design 228Non-degree 25

Average student/faculty ratio 9:1

Number of faculty Full-time 105 Part-time 334

Average age of new undergraduate students20.9 years old(all new degree-seeking students in Fall Term)

Average age of all undergraduate students 23.2 years old

Ethnicity of undergraduate students African American/Black 1% American Indian/Alaska Native 0% Asian 36% Caucasian 18% Hawaiian/Pacific Islander 0% Hispanic/Latino 12% International (representing 45 countries) 27% Two or more races 4% Unknown/Undeclared 1%

New undergraduate students fromCalifornia 52% Other states 18%

Undergraduate students who receive financial aid 70% (2015 calendar year)

ArtCenter administers more than $15 million in scholarships to undergraduate students per year.

First-time freshmen who complete their degrees within six years 68% (Fall 2009 cohort)

Average job-placement rate one year after graduation for students who receive a bachelor’s degree* 86.6% (based on alumni-survey responses of 37.1%) All figures reflect Fall 2015 data unless otherwise specified.

ArtCenter College of Design™ is accredited by the WASC Senior College and University Commission (WSCUC), and by the National Association of Schools of Art and Design (NASAD). Access to ArtCenter’s accreditation report is available through the College’s Center for Educational Effectiveness.

WSCUC985 Atlantic Avenue, Suite 100Alameda, CA 94501510 748-9001

NASAD11250 Roger Bacon Drive, Suite 21Reston, VA 20190703 437-0700

* Data from Annual Graduate Employment Survey distributed to one-year-out graduates (graduates from Spring, Summer and Fall 2014). Employment rates are calculated by graduates indicating a primary status of “working full-time” or “working part-time” one year post-graduation.

Colophon

Published by the Department of Marketing and Communications

Chairman of the Board of TrusteesRobert C. Davidson, Jr.

PresidentLorne M. Buchman, PhD

Senior Vice President, Admissions and Enrollment ManagementKit Baron

ProvostFred Fehlau (BFA 79, MFA 88)

Vice President, Marketing and Communications Jered Gold

Design teamCreative DirectorScott Taylor

Art DirectorWinnie Li (BFA 92)

DesignerXavier Cerrilla (BFA 08)

Director of ProductionEllie Eisner

Production DesignerAudrey Krauss

Editorial teamEditorial DirectorSylvia Sukop

Senior WriterMike Winder

Contributing writerLynne Heffley

CopyeditorKathy Barreto

Editorial assistanceAnna Macaulay

PhotographyPhotographerJuan Posada

Contributing photographersAlex Arestei (BFA 08)Stella Kalinina (BFA 13)June Korea (BFA 12) Stephen Swintek (BFA 97)

Production creditsFontNeue Haas Grotesk (Linotype)

PaperNeenah Classic Crest CoverMunken Lynx TopKote Gloss TextAll FSC Certified

PrinterClear Image Printing Co. Glendale, California

ArtCenter 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.

ArtCenter faculty respond quickly to changes in technology and innovations within specific design disciplines; please consult our website for updated informa-tion regarding Programs of Study.

© 2016 ArtCenter College of Design. All rights reserved. No part of this publication may be reproduced or trans- mitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any informa-tion storage or retrieval system, without written permission of the publisher.

ArtCenter College of Design1700 Lida Street, Pasadena, CA 91103626 396-2200artcenter.edu

Index

Academic programs Advertising 49 Entertainment Design 61 Environmental Design 73 Film 85 Fine Art 97 Graphic Design 109 Illustration 121 Interaction Design 133 Photography and Imaging 145 Product Design 157 Transportation Design 169Admissions 181 Choice of major 182 Counseling 182 Deadlines 187 Notifications 187 Requirements 182Advertising 49 Program of study 59Application requirements 182Appointments 182Arrival and housing 189ArtCenter at a glance 192ArtCenter at Night 183ArtCenter for Teens 183

Calendar, academic 191Career development 27Counseling 182Course load 190Deadlines, application 187Deferrals 187Degrees offered 182Designmatters Concentration 43Disability policy 190Entertainment Design 61 Program of study 71Environmental Design 73 Program of study 83Family Education Rights and Privacy Act (FERPA) 190Fees 189Film 85 Program of study 95Financial aid 189 Deadlines 190Fine Art 97 Program of study 107Graduation rate 190Grants 189Graphic Design 109 Program of study 119Health insurance 189Housing 189Humanities and Sciences 37Illustration 121 Program of study 131Integrated Studies 31Interaction Design 133 Program of study 143International students 188Internships 24

Living expenses 189Loans 189Majors, choice of 182Nondiscrimination policy 190Orientation 189Photography and Imaging 145 Program of study 155Portfolio requirements 183Portfolio return 186Portfolio, submitting your 186Product Design 157 Program of study 167Public Programs 183Readmission 187Scholarships 189Special nondegree student status 188Studio art credit 188Study away 20TOEFL 183Tours, campus 182Transfer students 187Transportation Design 169 Program of study 179Tuition and fees 189Tuition deposit 187Veterans 188Visiting campus 182Work study 189

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Graduate Studies at ArtCenter 2Art 17Environmental Design 29Film 41Graphic Design 53Industrial Design 65Media Design Practices 77Transportation Systems and Design 89Admissions 101Academic calendar 111ArtCenter at a glance 112


2017–2018Graduate studies

Founded in 1930 and located in Pasadena, California, ArtCenter College of Design is a global leader in art and design education. With a current enrollment of approximately 1,900 undergraduate and 200 graduate students, collectively representing more than 40 countries, the College has a student/faculty ratio of 9 to 1.

Throughout the College’s long and storied history, ArtCenter alumni have had a profound impact on culture, the way we live and important issues in our society.

Art and design for a changing world



ArtCenter goes beyond most graduate-level graphic design programs to provide an immersive education in not only craft and critique, but also design leadership, management and entrepreneurship within a cutting-edge transmedia framework that includes print, interaction, motion, packaging and mediatecture. We prepare graduates to lead the next global generation of our profession by influencing companies, communities and society at large and extending the boundaries of communication design.

Nik Hafermaas Chair, Graphic Design

Visual artists use craft to turn thought into objects. They express their ideas in materials that they then put into the world—a compli-cated world already filled with things. Through the artist’s skill these objects rise above the cacophony and contribute to a meaningful dialogue about contemporary culture and the significance of art therein. Each graduate of our department leaves ArtCenter having developed, in objects and in thought, their own distinct take on the significance of art in life.

Diana Thater Former Chair, Art

From business ventures to social justice, cultural research to experi-mental mediums, transportation systems to spatial experiences, ArtCenter’s renowned graduate programs offer designers and artists exceptional opportunities to create unique and personal career and life paths—all within the dynamic social, cultural and intellectual con-text of Southern California.



ArtCenter offers seven distinct graduate degree programs—the Master of Fine Arts degree in Art, Film, Graphic Design, and Media Design Practices, and the Master of Science degree in Industrial Design, Environmental Design, and Transportation Systems and Design. Additionally, the Innovation Systems Design dual-degree program with the Drucker School of Management leads to an MS in Industrial Design from ArtCenter and an MBA from Drucker.

Along with a professionally distinguished faculty, small class size, state- of-the-art facilities and an innovative curriculum that sets the standard in the field, ArtCenter’s rigorous and creatively charged atmosphere provides ideal conditions for advanced study and practice.

Our apprentice filmmakers are treated like professionals, not students. Each graduate student’s curriculum is tailored to best meet their needs based on their interests and experience. They create their own projects; they choose their crew; they own their negatives. They gain a deep overall understanding of the crafts, technologies, artistry and business of visual storytelling, taking their creative ideas all the way from conception to distribution.

Ross LaManna Chair, Film

Graduate education at ArtCenter encompasses a full range of art and design practices. From Industrial Design’s focus on new business models, to Media Design Practices’ experimentation with technology and social media, and Grad Art’s individualized studio experience, all of our graduate programs combine critical inquiry and research with making and prototyping. Students are free to focus on a specific area of inquiry or to traverse interdisciplinary boundaries—or both.



Los Angeles is the creative capital of the world, offering unparalleled opportunities in the fields of film, entertainment and contemporary art. The region as a whole is a center of innovation in advertising, fashion, automotive design, technology and higher education. As a vibrant crossroads between the Pacific Rim and Latin America, L.A. reflects diverse worldviews, cultures, cuisines, and languages (more than 200 at last count).


1110

Graduate studies

While tapping into the global energy of Los Angeles, ArtCenter graduate students also enjoy the quiet sophistication of Pasadena, the City of Roses that is among the United States’ top-ranked cities for quality of life. Just 20 minutes by Metro to downtown Los Angeles, Pasadena features architectural masterpieces by Frank Lloyd Wright and Charles and Henry Greene; an impressive collection of cultural institutions, including the Norton Simon Museum and the Pacific Asia Museum; and leading centers of science and engineering including the California Institute of Technology and NASA’s Jet Propulsion Laboratory. It also boasts ready access to mountain and desert wilder-ness areas including the San Gabriel Mountains, Angeles National Forest and Joshua Tree National Park.

There’s an urgent need for a new kind of transportation designer, one who understands that the real value of design stretches way beyond styling. The future of the profession lies in harnessing our creativity to lead progress through strategic big-picture thinking, empathizing with all the stakeholders in transportation, and facilitating meaningful collaboration among them.

Geoff Wardle Executive Director Transportation Systems and Design

In a world of change, designers need to understand more than just the people they are designing for. They have to embrace a deep knowledge of business practices, leadership qualities and a sense of innovation. Now that our field has shifted toward brand-driven senso-rial spatial design and industry-driven furniture and fixtures design, a young designer must attend a program which pushes their boundaries well beyond their comfort zone to create a base for their future.

David Mocarski Chair, Environmental Design


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Graduate studies

Today’s companies must continuously reinvent themselves and redesign how they achieve their business goals by providing new value to customers whose needs and choices keep changing. Our program is uniquely designed to prepare creative leaders to thrive in this challenging environment. Our graduate students engage in research and critical discourse, exploring new methods to visualize and validate—complete with new business models—their ideas for a better future.

Andy Ogden Chair, Industrial Design


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Graduate studies

Today’s global systems of information, goods and power bring with them a stream of complex sociological questions and challenges. It’s not enough to say you’re preparing interaction and media designers for rapidly changing technological futures—the question is whose futures? Through designing and writing, our core faculty participate in the lively debates of critical design, human-computer interaction, social innovation, architectural theory, anthropology, the digital humanities, design research and more. Our students and alumni are also continually producing new insights.

Anne Burdick Chair, Media Design Practices

ArtCenter encompasses two campuses in Pasadena: Hillside Campus, with its landmark modernist steel-and-glass Ellwood building nestled in the San Rafael Hills; and South Campus, an evolving complex whose three distinct buildings—a former supersonic wind tunnel, a post office distribution facility and a six-story office building—are a model of sustainable adaptive re-use. Both campuses are home to advanced learning spaces, studios, project rooms, shops and exhibition galleries. The College Library, a comprehensive collection of resources on art and design, affords inspiration, cutting-edge research, personalized assistance and collaborative workspaces.

17ArtCenter College of Design

2017–20181617artcenter.edu/gradart

Art

Chair Jason E. Smith

Associate Chair Bruce Hainley

Core facultyLita AlbuquerqueWalead BeshtyStan DouglasGabrielle JenningsTimothy Martin Patti PodestaDiana ThaterAnnette Weisser

Adjunct facultyTom AllenSkip ArnoldJack BankowskyCindy BernardKim FisherPatrick HillIan JamesAlice KönitzT. Kelly MasonJan Tumlir

Visiting facultyShahryar NashatLaura Owens

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Art

Graduate Art is an interdisciplinary Master of Fine Arts program that encourages divergent ideas and methods. With a core faculty of 10 internationally recognized artists and writers, an adjunct faculty of 12 and a total of 35 students, we have one of the lowest student-to-faculty ratios among comparable MFA programs. The result is an intense work environ-ment where concentrated art-making is assured equally concentrated and careful attention, whether within specific disciplines or among them: in film, video, photography, painting, sculpture, installation, performance and everything in between.

Fundamental to our program are one-on-one studio visits with faculty and rigorous critical, academic and practical coursework. We extend our reach internationally, inviting artists and writers—famous and infamous—as well as historians and philosophers for weekly seminars and our biannual conference series. Coming from and going to Europe respectively, our artist-in-residence partnership and student exchange link us with pro-grams in Paris, Berlin and Cologne.

Closer to home, indeed at home, is Los Angeles, one of the world’s great art capitals. Closer still is the renowned design school to which we are connected, with leading-edge software and hardware technology and the equipment that goes with it. On site, we provide students with individual studios, a fabrication shop, several gallery spaces, and dedicated computing and moving-image production labs. We make our public gallery spaces and project rooms available to all our students, from their first term through graduation, when they mount their final solo show.

Jason E. Smith, Chair

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Typical length of study for the MFA in Art is four full terms plus one ArtCenter Lite (ACL) summer term, and the program may be completed in two years.

Curriculum subject to change.

Term 1—Fall Graduate Seminar 3Theories of Construction 3M1 Master’s Project 3Electives 6

Term 2—SpringGraduate Seminar 3Theories of Construction 3M2 Master’s Project 3Electives 6

Term 3—Summer (ACL)Summer Seminar 3Summer Workshop 3

Term 4—Fall Graduate Seminar 3Theories of Construction 3M3 Master’s Thesis 3Electives 6

Term 5—Spring Graduate Seminar 3Theories of Construction 3M4 Master’s Thesis 3Completed Thesis 0Electives 6


Art

Alumni includeLynn Aldrich 86 George Porcari 87 Steven Roden 89 T. Kelly Mason 90 Diana Thater 90 Jennifer Steinkamp 91 Pae White 91 Sharon Lockhart 93 Frances Stark 93 Lisa Anne Auerbach 94 Gabrielle Jennings 94 David Bailey 95 Joe Mama-Nitzberg 95 T.J. Wilcox 95 Catherine Sullivan 97 Taft Green 01 Nate Hylden Alexis Teplin 01 Emilie Halpern 02 Jennifer West Aaron Curry 05 Brian Kennon 05 Jill Spector 05 Heather Cook 07 Barry Johnson 07 Adam Miller 07 Devon Oder 07 Michael Rey 08 Matt Sheridan 08Eduardo Consuegra 09 Karthik Pandian 11 Sterling Ruby 15

fkwfoto.com

Filip Kwiatkowski MFA 14

ArtCenter is “a place where multiple ideas fuse together to become a greater whole,” says video artist Filip Kwiatkowski. Originally from Poland and now based in Denmark, Kwiatkowski fuels his work by exploring ways that new media transform the temporal form of the narrative, and by researching past and present narratives of immigration, “contextualized in our global economy where the word ‘immigrant’ has taken on a new meaning,” he says. Kwiatkowski came to ArtCenter after a freelance career in photography and film—including multi-ple jobs for The New York Times. Grad Art opened many new possibilities for him. “My impulse as a photographer was to define things through the images I produced,” he recalls.

“As a student, I realized that the type of art that I responded to raised questions and challenged the viewer.” After graduation, Kwiatkowski was awarded a fellowship at the Academy of Media Arts in Cologne, Germany, where he had done a study abroad program while at ArtCenter. Earning his MFA, Kwiatkowski says, “gave me the tools to move forward as an artist.”

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2017–2018 artcenter.edu/gradenvironmental

Environm

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ChairDavid Mocarski

Full-time facultyRobert BallKenneth CameronSamuel ClarkJohn FordDaniel GottliebCory GrosserPenny HerscovitchJames Meraz Emil MertzelMichael NeumayrNolen NuiYo OshimaJason PilarskiEvan Robertson

31

30 Environmental DesignDavid Mocarski, Chair

Our Master of Science degree in Environmental Design focuses on the parameters of sensory-based design and its ability to deliver a complete user experience on a variety of scales. The program takes candidates beyond the confines of style to con-sider the links between the psychological, physical, emotional and sensory effects of design. Our graduates become uniquely qualified to advance the impact and discipline of environ-mental design.

Drawing from a diverse array of fields, the Environmental Design Department investigates the dynamic qualities of story-driven design to conceive staging and sequencing which cap-tures the dramatic qualities and needs of a specific spatial experience. The graduate program concentrates on conceptual rigor crossed with professional practice and a focus on theoretical thinking, technical innova-tion, manufacturing, fabrication and project execution. Rather than merely following trends, students define the future of our living environment.

Graduate Environmental Design is a two-track program that enables degree candidates to specialize and obtain advanced knowledge of theory and practice.

The Spatial Experience track addresses the relationship among body, materials, space and emotions, and our approach dictates that we work in a multidisciplinary way. This program is for students interested in elevating a multiscale spatial design direction with a strong industry focus and application.

The Furniture and Fixtures track investigates the relationship among space, place, function and application of furniture and fixture design, emphasizing innovation, industry standards and the manufacturing process. This program deepens understanding of production furniture, case goods and fixtures and their relationship to manufacturing, materi-als, market and brand.

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Typical length of study for the MS in Environmental Design is four full terms plus one ArtCenter Lite (ACL) summer term, and the program may be completed in two years. A three-year option includes two additional full terms.


Furniture & Fixtures track 2-year

Term 1—FallTopic Studio—Furniture 3Topic Studio—Lighting 3Digital Process 6 3Materials & Innovation 1 3Space, Brand & Experience 3

Term 2—SpringAdvanced Topic Studio—Furniture 3Advanced Topic Studio—Lighting 3Digital Process 7 3Grad Seminar 3Theory, Concept, Culture 3

Term 3—Summer (ACL)Research Project—Industry Sponsor 6

Term 4—FallThesis Studio 1 6Fabrication Innovation 1 3Concept—Management Process 3Topic Studio 3

Term 5—SpringThesis Studio 2 9Documentation—Presentation 3Fabrication Innovation 2 3 Completed Thesis 0


Furniture & Fixtures track 3-year

Term 1—FallBranding Strategies 3Materials & Making 3Digital Process 2 OR Digital Process 3 OR Digital Process 4 OR Digital Process 5 3Visual Communication 2 3Topic Studio 3

Term 2—SpringContemporary Placemaking 3Illumination: Lighting 3Digital Process 2 OR Digital Process 3 OR Digital Process 4 OR Digital Process 5 3Topic Studio—Lighting 3Topic Studio—Furniture 3

Term 3—FallTopic Studio—Furniture 3Topic Studio—Lighting 3Digital Process 6 3Materials & Innovation 1 3Space, Brand & Experience 3

Term 4—SpringAdvanced Topic Studio—Furniture 3Advanced Topic Studio—Lighting 3Digital Process 7 3Grad Seminar 3Theory, Concept, Culture 3





Environmental Designmarcscime.com

Alumni includeStephanie A. Sigg 98 Hines Fischer 14Kristina Jesena 14Shuning Li 14William Shin 14Yujin Lim 15Julia Ok 15Tanvi Sonavane 15Therese Swanepoel 15

Marc Scimé came to ArtCenter with a BFA in Industrial Design and 15 years of profes-sional experience in furniture, fixture and interior design. He chose the Environmental Design graduate program because, he says,

“it provided a way to build on that experience in order to meet specific goals I have as a designer, with the benefit of constructive input and critique from instructors and advisers.” Since graduating, Scimé has been getting his own studio business off the ground, expanding his network of industry connections and entering international design competitions, with some notable outcomes. All four furniture designs he made while at ArtCenter won A’ Design Awards—a gold for

Huxley’s Ladder, two silver for his Trio low table and his modular seating system Bend; and a bronze for his Transition center table. Bend also won the Sofas category in the Restaurant & Bar Product Design Awards 15/16. His LED light fixture Imprint was short-listed and presented as part of a juried panel exhibit at the Gwangju Biennale. He was also nominated for the International Association of Design’s Designer of the Year. “But it’s not all as easy as the awards may suggest,” says Scimé. “My advice to prospective students: Look deep inside yourself to be sure you love the work and can’t imagine doing anything else.” In Scimé’s own case, that certainty is tested—and reaffirmed—nearly every day.

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2017–2018 artcenter.edu/gradfilm

Film

Spatial Experience track 2-year

Term 1—FallDigital Process 6 3Materials & Innovation 1 3Spatial Scenography Studio 1 3Space, Brand & Experience 3Theory, Concept, Culture 3

Term 2—SpringDigital Process 7 3Grad Seminar 3Ambient Media & Interactivity 3Spatial Scenography Studio 2 3Advanced Spatial Graphics 3





Spatial Experience track 3-year

Term 1—FallDigital Process 2 OR Digital Process 3 OR Digital Process 4 OR Digital Process 5 3Environmental Design 2 OR Environmental Design 3 OR Experience Design Branding 3Design Lab 2 OR Studio Independent Study 3Visual Communication 2 3Topic Studio 3

Term 2—SpringContemporary Placemaking 3Digital Process 4 3Environmental Design 4 3Structure—Interior Architecture 3Design Lab 4 3

Term 3—FallDigital Process 6 3Materials & Innovation 1 3Spatial Scenography Studio 1 3Space, Brand & Experience 3Theory, Concept, Culture 3

Term 4—SpringDigital Process 7 3Grad Seminar 3Ambient Media & Interactivity 3Spatial Scenography Studio 2 3Advanced Spatial Graphics 3





ChairRoss LaManna

Full-time facultyVictoria Hochberg

Part-time facultyKen AguadoMonte BramerJay ChapmanTara CraigManohla DargisDoug EbochSteven FinestoneJean-Pierre GeuensPaul GuayAndrew HarlowJohn HartzogHoward HeardScott JenningsMatia KarrellDavid KelloggStephen LattyJim McBrideNatalija NogulichJeanine RohnLee RosenbaumJohn “Shep” ShepherdJohn SuitsBilly Weber

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42 FilmRoss LaManna, Chair

The Graduate Film program at ArtCenter provides developing film-makers an immersive opportunity to refine and expand their visual story-telling abilities under the mentorship and guidance of top Hollywood talent and decision makers. Our location in Los Angeles, the heart of the enter-tainment industry, enables us to build a faculty of working professionals and a constant flow of guest lecturers from all corners of the industry. At ArtCenter, students have the opportunity to create and own their personal work. They can focus on directing, screenwriting, cinematography, editing or producing. Faculty mentors are working professionals who guide and assist students in the design, development and production of their projects. Our program attracts a diverse community of storytellers. Traditional disciplinary boundaries melt away. Collaboration among students and faculty from other disciplines allows ideas to flourish.

In a program that provides industry solutions for all phases of production, filmmakers are encouraged to net-work and seek out professional relationships early on. The ArtCenter culture of exploration encourages filmmakers to stretch as they find personal, inventive solutions. They are expanding the possibilities of the existing media landscape into as-yet-unexplored directions.

Our graduates join a large extended family of creative professionals who are widely recognized for bringing a unique approach to every project they tackle.

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2017–2018Film

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When Lizbeth Chappell visited the Graduate Film Department as a prospective student, she liked what she heard: the program caters to the individual; students own the rights to their work; and the faculty focuses on prepar-ing its graduates to work professionally.

When Chappell toured ArtCenter, she also liked what she saw: the high quality of the work in the student gallery meant she would be surrounded by talented individuals from many disciplines. Indeed, working with students from other majors would prove to be one of the most rewarding aspects of her ArtCenter career.

One such collaboration with Advertising student Jamie Yuen (BFA 12), a speculative Teen Midol commercial Chappell directed called “Uncomfortable Situations,” proved particularly fruitful. In the commercial, a high school football team’s female mascot unwittingly finds herself in the male players’ locker room and, once discovered, impro-vises her way out of the situation.

For the concept, Chappell and Yuen first boiled Teen Midol down to a product that relieves uncomfortable situations. From there, their goal was to create something bold and memorable or, in other words, the antithesis of a typical feminine product commercial. The Academy of Television Arts & Sciences agreed with their approach, awarding

“Uncomfortable Situations” second place in the Commercials category at the 2013 College Emmy Awards.

As for Chappell’s professional prospects? While still a student, she co-produced A Better You, an independent feature directed by Upright Citizens Brigade co-founder Matt Walsh, and was signed to produce three other features upon graduation.

Lizbeth Chappell

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2017–2018Film

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Born in Taiwan, Mego Lin came to ArtCenter holding a degree in fine art with an emphasis in still photography. But some multimedia experimentation sparked within her a curios-ity about filmmaking, so she decided to visit the College’s campus. After meeting with the Graduate Film Department chair, she came away believing her ability to capture moments of people’s lives through imagery would translate nicely to cinematography.

Lin cites The Director and the Script as one of the most important courses she took at ArtCenter. As part of the two-term class taught by television director and DGA executive board member Victoria Hochberg, each student wrote a short film and then directed an on- campus shoot that needed to be completed within six hours. Students took turns directing and performing every other on-set job, an experience that gave Lin a strong understand-ing of the entire filmmaking process.

Beyond providing her with ample opportuni-ties to hone her experience behind the camera, that course also proved important for Lin because it’s where she met her classmate Jon Jon Augustavo. The following year, Augustavo asked Lin if she’d like to accom-pany him to Seattle during a break between terms to shoot a few music videos.

One of those videos? Macklemore & Ryan Lewis’ Same Love, a song which transcended pop music and became a rallying call for gender equality, garnering millions of views on YouTube and winning MTV Video Music Awards’ 2013 Best Video With a Social Message.

Since graduating, Lin has shot music videos for Mary Lambert, The Flavr Blue, The Knocks, Mike Posner, Tori Kelly, Tinie Tempah and Scott Stapp.

Mego Lin

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2017–2018Film

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After earning an undergraduate degree at a large local state university and spending several years working in various fields, Matthew Ward decided to finally pursue his lifelong dream of writing and directing films. But, he told himself, if he was to return to school for his master’s, he needed: an intimate academic experience; an environment that taught all aspects of filmmaking; and, most importantly, a setting where he would get serious work done.

Ward entered the Graduate Film program not only focused but determined to have experiences he missed out on as an under-graduate. Chief among those? Studying abroad, which he quickly amended by travel-ling to Berlin as part of a Transdisciplinary Studio hosted by the Illustration Department, in which he spent 10 weeks recording ambient sounds and conducting interviews with locals—all resulting in an audio installation back at ArtCenter that captured his impres-sions of the German capital.

Ward returned to Berlin months later to shoot his portfolio project, Damned. Written and directed by Ward, Damned tells the story of a woman who escapes a research facility only to discover the city around her has been devastated by a virus. To make the short film happen, Ward connected with a German actor he had met previously and also hired a local crew. The most memorable moment of the shoot? The final day of filming was interrupted by a power outage and the evacuation of a nearby medical research facility due to a real-life contamination fear.

Matthew Ward


50

Typical length of study for the MFA in Film is five full terms, and the program may be completed in two years.


Term 1—FallFilm Department Orientation 0Set Safety Class 0 Screenwriting: Writing Visually 3Producing & Set Procedures 4The Director & the Script 5Designing Movements & the Virtual Director 3Visual Narrative Workshop 3Individual Advisement & Setting Your Goals 0

Term 2—SpringAdvanced Acting Workshop 3Cine Workshop: Lighting the Narrative 3Not Your Dad’s Film History Class 3Narrative Film Analysis 3Individual Advisement & Script Boot Camp 0 Short the Scene 4

Term 3—SummerPitching 3Narrative Editing: Theory & Practice 3Individual Advisement & Thesis Research 1Screenwriting: Rewriting Visually 2Visual Storytelling Techniques 3Selling Your Indie Film: Concept to Distribution 3

Term 4—FallWritten Thesis Development 1Narrative Editing: Workshop 3Sound Design: The Other Half 3Watching Films Like a Filmmaker 3Visiting Artist Seminars & Advisement 0 Film Thesis Development 1

Term 5—SpringColor Science & VFX 3Business Affairs for the Filmmaker 3Film Thesis Production 2Individual Advisement & Transitioning to Pro 0Written Thesis Creation 1Completed Thesis 0


Film

Alumni includeFarhad Mann 80Ericson Core 90Jeremy Birn 95 Robyn Lattaker-Johnson 95Marcel Langenegger 97Steven Tsuchida 98Greg Whiteley 99Ken Saba 01Adam Meltzer 03Elisabeth Rubin 03Michael Sucsy 03Katey Bright 06James Mann 06Matthew Fackrell 07Nathan Fackrell 07Sara Zofko 07Olivier AgostiniYama Lake 10Ahmi Manson 10Chris Saul 10Michelle Clay 11Bart Vandever 11Kai Cheng 12Rebecca Cremona 12Darine Hotait 12Carlo Olivares Paganoni 12Erik Anderson 13Lars LindstromPaul Linkogle 13Michael Okum 13

jonaug.com

Jon Jon Augustavo

Filmmaker/director Jon Jon Augustavo is a three-time MTV Video Music Award-winner and multiple nominee for his work with Macklemore & Ryan Lewis, and his collaborations with the Grammy-winning rap group and other musicians have hundreds of millions of YouTube views. Augustavo honed his signature evocative filmic style at ArtCenter after “a little bit of success” making music videos for several Seattle hip-hop artists. “I realized that if I wanted to get better, and wanted to get into filmmaking, I needed to learn more,” he says. ArtCenter helped develop his skills as a visual storyteller— “something I didn’t really have a full grasp on before”—and learning to collaborate and to create a good team prepared him to navigate the business side of creative work. Today, Augustavo works with former classmates whenever he can. “There is a certain trust level because we were all in the battle zone of film school together and we all gave everything for one another,” he says. “I know I can trust these people to deliver above and beyond strangers for hire.”

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2017–2018 artcenter.edu/gradgraphic

Graphic D

esignChair

Nik Hafermaas

Executive DirectorSean Adams

FacultyBrad BartlettBrian BoylChris HackerGerardo HerreraSimon JohnstonGloria KondrupMing TaiPetrula Vrontikis

Advisory board and visiting faculty

Kim BaerJohn BielenbergMichael BierutDoug BoydKen CarboneBrian CollinsRichard DanneElizabeth Dori TunstallAgustín GarzaSamuel GatesNancy GreenRichard GreféBruce HeavinJessica HelfandKit HinrichsPaul HoppeSeth JohnsonSu Matthews HaleDebbie MillmanClement MokChee PearlmanPaula ScherErik SpiekermannMichael Vanderbyl

55

54 Graphic DesignSean Adams, Executive Director

Practicing graphic design is a process of creating change. In their pursuit of great ideas, our change-making students follow a simple path: they see, do and lead.

ArtCenter’s new MFA Graduate Graphic Design (MGx) program edu-cates graphic designers who will lead the next global generation of our profession by influencing companies, communities and society at large and extending the boundaries of communication design.

Many graduate graphic design programs in the U.S. focus on critical theory and radical exploration, primari- ly working in print media. Expanding upon the College’s internationally recognized undergraduate graphic design curriculum, our MFA program focuses on craft, skill, design leader-ship and strategic thought with a goal of practical professional improvement.

Our program provides an immersive education within a socially responsi-ble transmedia platform that includes print, interaction, motion, packaging and mediatecture. We emphasize entrepreneurship, leadership and management with a focus on practical, yet exquisite, professional design solutions.

Our faculty of internationally recog-nized experts works across multiple mediums including typography, inter-active mediums, branding, leadership, motion, print, and environmental graphic design. Our program is com-mitted to maintaining close ties with the professional field. Our advisory board and visiting faculty provide this connection as some of the most res-pected industry leaders in the world.

Our regular two-year program consists of four full terms, a summer term reserved for studio-based independent study and an internship. If appropriate, we also offer a three-year program that includes two additional terms of undergraduate graphic design tailored to individual students’ needs.

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2017–2018Graphic Design

Justin Chen

Inspired by the philosophy of Ai Weiwei, Justin Chen designed Censored, an installation featuring a portrait of the Chinese artist obscured by 400 cards, each representing one of his tweets. Users interact with the work by removing a message to which they respond and uploading a photo of the altered installation to Instagram. The more people that interact with the installation, the faster the portrait reveals itself. Today, Chen (BFA 14) works as a designer at Google.

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2017–2018 Graphic Design

Pearlyn Lii

To portray the multifaceted career of artist and musician Brian Eno, Pearlyn Lii designed Eno, a suite of experiences to promote an imag-ined exhibition at the artist’s alma mater. Eno included a 250-page book, an interactive triptych and a sound reactive drawbot. Each visitor is presented with a unique scribbled sheet that can be used as a dust jacket for the catalog that accompanies the exhibition. Today, Pearlyn Lii (BFA 15) works as a designer at SYPartners.

63Program of study

62

Typical length of study for the MFA in Graphic Design is two years: four full terms plus one ArtCenter Lite (ACL) summer term.

For incoming students who need additional design skills to complete the degree, we offer a three-year program. This program features two additional terms of undergraduate courses, tailored to meet the student’s individual needs. Once these two terms are completed, students enter the traditional MGx course track.


Term 1—FallGraduate Studio I 6 Graduate Seminar I 3 Graduate Typography 3Project Writing 3Mediatecture 3Screen-Based Elective 3

Term 2—SpringGraduate Studio II 6Graduate Seminar II 3Professional Leadership 3Project Writing 32D Form Elective 3Screen-Based Elective 3

Term 3—Summer (ACL)Studio Independent Study 6An internship is also recommended for this term.

Term 4—FallGraduate Thesis and Thesis Preparation I 6 Design Research/Strategy 3Cross-Media Strategies 3Entrepreneurship 3

Term 5—SpringGraduate Thesis and Thesis Preparation II 6Elective/Indep. Study 3


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2017–2018 artcenter.edu/gradid

Industrial Design

ChairAndy Ogden

FacultyKatherine BennettJames ChuMarshall HamachiDyna KauStan KongSusan MarkiStory MusgraveJavier PalomaresEric NgLloyd WalkerByron Wilson

StaffMaritza HerreraLan Yu

67

66 Industrial DesignAndy Ogden, Chair

ArtCenter’s “Grad ID” program offers a Master of Science curriculum focusing on theory and practice for the production of insightful research, development of human-centric innovations and the creation of new business opportunities. We combine the pursuit of extraordi-nary visual design and making skills with the knowledge, theories and methods essential to developing design solutions for complex and unstructured problems. In doing so, we prepare students to assume leadership roles throughout creative organizations.

Our faculty of internationally renowned educators—accomplished professionals across a range of design, technology and business fields—help our students develop their abilities through projects and critical dialogue in a design studio environment. The program prepares graduates with an optimal combination of knowledge, skills and experience to lead innovation for enterprise and to create the future.

We design with a consciousness that our innovations exist in a larger context. Our methodology, Strategic Innovation, takes a systems-level view and strives to balance the business, technological and human aspects of any challenge. This broadly applicable creative process produces empathetic solutions to essential human needs and allows designers—and enterprise—to be resilient and to grow. Grad ID also has joined forces with Claremont Graduate University’s Drucker School of Management to offer a dual MS/MBA degree in Innovation Systems Design (ISD). The two-year program prepares tomor-row’s innovation leaders by combining business strategy, leadership and management acumen with the rigor-ous development of creative skills and design innovation methodology.


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68 Industrial Design

Before coming to ArtCenter, alumnus Kevin Bethune (MS 12) had an unusual career trajectory: from mechanical and nuclear engineering for Westinghouse Electric Company, to financial analysis for Nike, to designing the Air Jordan Fusion 8 basketball shoe for Nike. But a desire for both a ground-ing in design fundamentals and a foundation in how to bring technology, business and design together led Bethune (below at right) to Grad ID.

Bethune’s thesis project, Ethereal Running Company, envisioned an ecosystem of prod-ucts and services for runners designed to boost their experience holistically. Ethereal would provide runners with the most effective running techniques, tailor that knowledge for each runner’s specific needs, and create a running community to foster advice and encouragement.

Bethune’s research had him doing everything from strapping a GoPro camera to his chest while sampling every mile of the Los Angeles Marathon, to meeting with the head coach of the Ethiopian Athletic Federation to explore motivations behind that country’s great dis-tance runners.

After graduation, Bethune helped set up a boutique digital innovation agency that served Fortune 500 clients by provoking visions for disruptive end-user experiences. In 2014, Bethune and his colleagues relaunched as BCG Digital Ventures inside the Boston Consulting Group. Today he serves as BCG Digital Venture’s vice president of strategic design.

Kevin BethuneEthereal Running Company, thesis project


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Born and raised in Germany, recent alumnus Jan Lienhard (MS 13) always had an interest in engineering and the arts. Lienhard came to ArtCenter with a wealth of product and transportation design experience—including internships at Porsche Design Studio in Zell am See, Austria, and BMW Group Designworks USA in Newbury Park, California—and entered Grad ID to fine-tune his knowledge in techni-cal skills, including business and technology.

In Grad ID, Lienhard (at left) finished not one, but two thesis projects. For one project, he conceived of a service that would cater to high-income business professionals who travel frequently for work. Lienhard’s service would afford business travellers the luxury of never having to pack for their travels; their clothes and other amenities would be deliv-ered to their hotel room prior to their check-in.

Lienhard’s other thesis project, which he created during an eight-month master’s thesis mentorship at Porsche Design Studio in Austria, also targets business professionals by imagining a new method of business-class local air commuting. Informed by technologi-cal forecasts for the near future, Lienhard’s Coax imagines a fleet of autonomous helicop-ters that would allow executives to signifi-cantly reduce their commute times and even conduct meetings while flying high above the urban sprawl.

Since graduating, Lienhard became a consul-tant and designer for Booz Digital before moving on to work with several of his Grad ID colleagues as an industrial designer at BCG Digital Ventures inside the Boston Consulting Group. Jan is currently BCG Digital Ventures’ senior strategic designer.

Jan Lienhard Coax unmanned aerial vehicle system, thesis project


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Recent alumna Nina Viggi (MS 13) believes extraordinary things can come from collabo-ration. And she should know. In 2013, a high- performance sailing shoe she designed as part of her Grad ID thesis project won a gold medal in the Industrial Designers Society of America’s prestigious International Design Excellence Awards (IDEA) competition.

The One Degree high performance dinghy shoe is light, flexible and equipped to drain efficiently without sacrificing vital thermal capability. With more than 10 years of com-petitive sailing under her belt, Viggi knew her product would resonate with sailors.

But One Degree is more than a product. Italian- born Viggi designed One Degree as a system of products and solutions to champion the sport

of high-performance sailing. Viggi recognized that sailing apparel and equipment had not kept up with the sport’s growing popularity and that they had fallen behind the more aerodynamic products created for surfing and windsurfing. Beyond the design of the shoe itself and the creation of an overall brand strategy, Grad ID required her to forecast product growth opportunities over the next five to 10 years. The program also required that she have a strong grasp of sourcing materials and manufacturing constraints, all of which she put to good use when she built her prototypes in Hong Kong.

After graduation, Viggi interned at Continuum, worked as an interaction designer at Teague, then became an interaction designer at GE Software, and is now product design lead at Capital One.

Nina ViggiOne Degree system of high-performance sailing products, thesis project


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4 Industrial Design

Typical length of study for the MS in Industrial Design is six full terms, and the program may be completed in two years. Length of study for the MS/MBA dual degree in Innovation Systems Design, in conjunction with Claremont Graduate University’s Drucker School of Management, is six full terms and may be completed in two years.


Industrial Design track

Term 1M1 Studio 3Visualization 1 3Visual Form 1 3Materials & Methods 1 3Sparks & Connections 33D Development 1 3Visualization CG Lab 3

Term 2M2 Studio (Tactical Design) 3Materials & Methods 2A 3Materials & Methods 2B 3Visual Form 2 3Visualization 2 33D Development 2 3Design Investigations 3

Term 33rd Term Review 0 Materials & Methods 3A 3Materials & Methods 3B 3System Design Research 3M3 Studio 33D Development 3 3Visual Form 3 3Visualization 3 3

Term 4Special Projects Studio OR Electives 3Entrepreneur Methodology 3M4 Studio (Sponsored Project) 3Visualization 4 3

Term 55th Term Review 0 Entrepreneur Studio 3Workshop 5 3M5 Studio 3Electives 3

Term 6Workshop 6 3M6 Studio 3Completed Thesis 0 Electives 6


Innovation Systems Design

Term 1M1 Studio 3Visualization 1 3Visual Form 1 3Materials & Methods 1 3Sparks & Connections 33D Development 1 3Visualization CG Lab 3

Term 2M2 Studio (Tactical Design) 3Materials & Methods 2A 3Materials & Methods 2B 3Visual Form 2 3Visualization 2 33D Development 2 3Design Investigations 3

Term 33rd Term Review 0 Materials & Methods 3A 3Materials & Methods 3B 3System Design Research 3M3 Studio 33D Development 3 3Visual Form 3 3Visualization 3 3

Term 4Drucker Business Courses 24

Term 5Drucker Business Courses 24

Term 6Workshop 6 3M6 Studio 3Completed Thesis 0 Electives 6


Alumni includeGeetika Agrawal 05 Xuan Yu 06 Peter Chan Amanda E. Vining 07 Jae H. Yoo 07 Claire M. Gottschalk-Gerhardt 08 Valerie A. Poliakoff 08 Quinn M. Chow 09 Hiroshi Horii 09 Ning Ning Li 09 Daniel D. Winger 09 James Todd Jones 10 Jenny Liang 10 Kisun Kim 11 Magdalena Paluch 11Kevin Grant Bethune 12 Radhika Bhalla 12 Hugo Giralt Echevarria 12 Christine Purcell 12 Koo Ho Shin 12 Siddharth Vanchinathan 12 Pengtao Yu 12 Leslie Evans 13 Neeti Kailas 13 Jihoon Kim 13 Jeffrey Koffman 13 Dong Hun (Cuba) Lee 13 Jules Moretti 13 Uri Tzarnotzky 13 Byron Jerome Wilson 13

xiaomi.com

De Liu

Alumnus De Liu is a co-founder and vice president of Xiaomi, one of China’s leading technology firms whose smartphone sales rival that of Apple’s iPhone in that country’s market. Liu’s path to tech ascendency in the world’s second largest economy began with an ArtCenter project that, surprisingly, revolved around plush toys. As a Grad ID student, Liu returned to his native China to conduct demographic research and made special note of the widespread popularity of custom- created plush toys in the youth market. For his thesis project Liu devised and delivered a system in which kids could draw their own creation and, within a week, receive a plush toy that matched their specifications. The concept, and its execution, proved wildly successful. Today, you can see a direct link between the thinking behind Liu’s thesis project and some of Xiaomi’s most innovative business practices. Not only does the company have its finger on the pulse of the Chinese youth market (it even sells plush toys of its mascot), but one of its strongest differentiators is how it facilitates and incorporates feedback from its fans. “Was the design of Xiaomi based on the methodology I learned in Grad ID?” says Liu. “Absolutely.”


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76 artcenter.edu/mdp

Media D

esign Practices

ChairAnne Burdick

Core facultyElizabeth ChinSean DonahueTim DurfeeBen HookerPhil van Allen

Adjunct facultyMariana AmatulloScott CazanElise CoClaire EvansShannon HerbertGeoff Kaplan Norman M. KleinAlan KochJesse KrisMichael ManaloMike MilleyChelina OdbertSarah RichJennifer RiderTim SchwartzArden SternRichard WheelerRosten WooMimi Zeiger

Guest facultyChristina AgapakisBenjamin BrattonKathi KitnerShannon MatternMetahaven (Daniel van der Velder and Vinka Kruk)Cher PotterEdward ShankenWendy Walters

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78 Media Design PracticesAnne Burdick, Chair

How do designers operate in a world of perpetual change? What is the relationship between future speculation and today’s very real, very immediate challenges? And how might such conditions generate new practices in design? These are the issues students raise and tackle head-on in Media Design Practices (MDP).

Our interdisciplinary MFA is grounded in media—graphic, visual, interactive, spatial, experiential—and technology. We explore the role of design in the world through two different but related contexts, reflected in the names of our tracks: Lab and Field.

Lab track students use design to explore the implications of emerging ideas from science, culture and technology. Students design potential futures to grapple with issues such as digital privacy or connected bodies. Projects and partners change every year, and may include NASA scientists, offbeat Los Angeles cultural institu-tions or Silicon Valley engineers.

Field track students study local prac-tices and global systems in diverse international contexts, from refugee camps to corporate boardrooms to urban slums. Using a mix of ethnog-raphy, prototyping and speculation, students design in the context of urgent social issues, working abroad for up to three months. The Field track partners with Designmatters, ArtCenter’s social impact program.

A vibrant dialogue emerges when these two tracks come together in the studio, classes and reviews. What results is an array of student perspec-tives that recast the role of technology in society in surprising new ways. Upon graduation, students are ready to launch a design practice that is uniquely suited to the challenges of our time.


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80 Media Design Practices

Erika BarbosaPolicing Bodies, Field track thesis

A speculative design project rooted in the sense of smell, Radical Sensing imagines a future in which people have chosen to replace their noses with a “super smelling” neuro- prosthetic, or “post-nose,” that amplifies, isolates, decodes, records, and even shares scent with simple gestures and download- able customizations.

The project, created in response to the Design Challenge of the Microsoft Design Expo 2015, explores the future of sensing and prosthetics and was judged Best Overall for its provocative questioning. Can the voluntary removal of body organs, in favor of augmented replacements, become normative? What might such re-architecting of the body look like, both externally and at the neurological level? What experiential changes might result due to such enhancements?

Sweiden and Hong used performative proto-typing, 3D modeling, user interviews and a smell recording device to speculate about how one might experience an enhanced sense of smell in the future, forcing us to reconsider how we “live in our nose” in the present.

Below: A video still from a speculative fiction that demonstrates how one’s experience of memories and communication would be impacted with a Radical Sensing nose. 3D sketches show extreme nose redesigns that highlight the prosthetic’s artificiality.

Selwa Sweidan and Jay HongRadical Sensing, Lab track sponsored project

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A design ethnography of the law-enforcing body and a critical simulation of police tactical procedures and culture in Los Angeles, Policing Bodies examines how the uniformed cop is a multiplicity of beings and histories. It explores how the aesthetics and tactics of the U.S. criminal justice system are inscribed onto policing bodies through strategic materi-als and choreographies. The individual sits in either contradiction or corroboration with state ideology, or oscillates between the two. By bringing performance scholarship into dialogue with design research, the project interrogates the role of design in everyday choreographies of power and oppression.

Above: Prototyping tools and materials, including the Selfie Gun. When the user takes aim at a target and shoots, rather than a bullet hole, a selfie is produced which highlights the look on the shooter’s face. The project’s investigation used physical computing prototyping and critical redesigns of police tools such as the arrest report, also shown. Below: Screen grabs from police “gear poses” found in online videos.


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Rituals are a universal aspect of the human experience, creating both meaning and pur-pose. Bored in Space: Rituals in Closed-Loop Environments accepts that technological advancements in space exploration will make the colonization of Mars probable, as Oftadeh found working as a designer at NASA/Jet Propulsion Laboratory during her graduate studies. The project includes a video documentary and speculative images and prototypes that she used to ask members of JPL’s engi-neering culture if we are addressing the full spectrum of psychological needs that could arise during long-term embedded states on a distant planet. The project concludes by identifying the crucial importance of varied experience to off-planet human adaptation.

Above: One of several paintings Oftadeh created to provoke thinking in her conversa-tions with engineers at JPL. Left: Still from Oftadeh’s short documentary video.

Faith OftadehBored in Space: Rituals in Closed-Loop Environments, Lab track thesis

Winner of the 2016 SXSW Interactive Innovation award in the Student Innovation category, Plant-like Robot is a conceptual robot that embodies vegetal characteristics. The “robot” disperses through its environ-ment like a seed and secretly attaches itself to humans, animals and objects using its barbs and magnetism. As it travels with its adopted transporter, it collects and maps environmental and climate data on a micro scale.

Contrary to traditional approaches to robots—which tend to center on human and animal perspectives—Plant-like Robot merges botany and robotics to reinterpret sophisti-cated plant behaviors and redefine the concept, functionality and interactivity of robots beyond anthropomorphism and anthropocentrism.

Since mobility has long been seen as a fundamental robot function, applying vegetal characteristics from a seemingly inanimate lifestyle might seem absurd. But plant life presents unique, passive and slow behaviors that are highly adaptive to changes in climate and topography. Taking another look at plant life might inspire us to reimagine our concep-tions of a robot.

Below: When a person brushes up against it, Plant-like Robot attaches itself and catches a ride, much like a burr or foxtail. Bottom: A variety of prototypes that Jun developed in the design phase.

Ji Won JunPlant-like Robot, Lab track thesis

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“I am most uncomfortable when his junk is in my face.”

How can design be used to encourage the exploration and vocalization of complicated, unspoken and often deep-seated issues?

Engaging the Unspoken tackles this question while investigating the issues women face in the workplace. The project is grounded in the realities of six women: three attorneys, two CEOs and one assistant. Issues that emerged during fieldwork resulted in “conver-sation objects” used to elicit a rich dialogue.

These objects include: the Gender Sub-verting Chairs which physicalize embedded social roles and male dominance; Work/Life Pumps that, when worn, embody the diffi- culty of balancing work and family; and the Double-Entendre Tie which is worn by male co-workers who unknowingly encourage female self-confidence.

Below: Toretti used photography to explore the role of posture and position in the gender dynamics of the workplace. She then field-tested the Gender Subverting Chairs (upper left) in an attorney’s office for four weeks.

Judy TorettiEngaging the Unspoken: Women in the Workplace, Field track thesis

Created in the urban slum of Kamwokya in Uganda, weDub is a locally developed DIY audio mixer and preamplifier that fits in the palm of your hand. The youth-made circuit, student winner of Core 77’s 2015 Design for Social Impact category, allows its users to perform live improvised reinterpretations of media to a participatory audience.

In Uganda, this lively performance is a cultural media phenomenon known as VJing, or video jockeying. Inspired by this phenomenon, weDub is a community platform for youth voices and an entry point for learning about and making electronics. The project leverages existing youth talent and resources to foster youth engagement through the making of technology, embodying a kind of social impact design that defines people not by what they lack, but by what they have in abundance.

Above: Young people perform using weDub at the Treasure Life Youth Center in Kampala, Uganda and teach one another to create their own weDub device (left).

Tina ZengweDub, Field track thesis

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6

Typical length of study for the MFA in Media Design Practices is four full terms plus one ArtCenter Lite (ACL) summer term, and the program may be completed in two years. A three-year option includes two additional full terms.


Field track 2-year

Term 1—FallColloquium 1Field Core A 2Field Core B 2Field Core C 2Field Projects 1 6Critical Frameworks 1 (Field) 3

Term 2—SpringColloquium 1Field Projects 2 12Critical Frameworks 2 (Field) 3

Term 3—Summer (ACL)Studio Independent Study 3

Term 4—FallColloquium 1Field Thesis 1 12Critical Practices 1 (Field) 3

Term 5—SpringField Thesis 2 12Critical Practices 2 (Field) 3Completed Thesis 0


Field track 3-year

Term 1—FallColloquium 1Media Design 1 2Creative Technology 1 4Dev Projects 1 6Critical Histories 1 3

Term 2—SpringColloquium 1Media Design 2 2Creative Technology 2 4Dev Projects 2 6Critical Histories 2 3

Term 3—FallColloquium 1Field Core A 2Field Core B 2Field Core C 2Field Projects 1 6Critical Frameworks 1 (Field) 3

Term 4—SpringColloquium 1Field Projects 2 12Critical Frameworks 2 (Field) 3


Term 6 — FallColloquium 1Field Thesis 1 12Critical Practices 1 (Field) 3

Term 7—SpringField Thesis 2 12Critical Practices 2 (Field) 3Completed Thesis 0


Media Design Practices

Alumni includeSara Ortloff Khoury 92Gloria Ann Kondrup 93Roshi Givechi 95Thomas Mueller 95Rebeca Méndez 97Elizabeth Pastor 97Aaron N. Rincover Sean J. Donahue 02Jin Hyun Park 03Brent K. Barson 03Adriana Parcero Malagon 03Eric M. Boisvert 04Nikolai Cornell 04David S. Nazarian 04David H. Schwarz 04Jennifer A. Darmour 05Syuzi Pakhchyan 05Prarthana H. Panchal 05Tina S. Park 06Jed N. Berk 07Miya Z. Osaki 07Jackson Wang 08Yu-Ming Cho 08Maria H. Moon 08Christiane I. Holzheid 09Jonathan D. Jarvis 09Luke D. Johnson 09Parker R. Kuncl 09Julia Y. Tsao 09Christopher D. Lauritzen 10Mari Nakano 10Hyun J. Yang 10Seungmin Austin Lee 10Alexander A. Braidwood 11Ting-Yun Chien 11Scott C. Liao 11Zhengxin Xi 11Ricardo R. Bojorquez 12Brooklyn O. Brown 12Chiao-Wei Ho 12Michael T. Manalo 12Salvador B. Orara 12Bora Shin 12Jayne M. Vidheecharoen 12Dustin W. York 12Betsy Kalven 13Elizabeth Gin 13Andrew Nagata 13John Ryan 13Maria Del Carmen Lamadrid 13An Mina 13Tina L. Zeng 14Jenny Rodenhouse 15Zoe Padget 15Sangli Li 15Kristina Ortega 15Ji Won Jun 15

verynice.co

Matthew Manos MFA 12

How do you measure success? For Matthew Manos, the founder of New York- and Los Angeles-based design studio verynice, success means the ability to donate 50 percent of his company’s services pro bono—more than a million dollars’ worth and growing—to some 250 nonprofit organizations, while serving such major-league paying clients as MTV, Facebook and Walt Disney Imagineering. Manos launched his

“global design, business, and innovation consultancy special-izing in solutions for social and cultural impact” in 2008, as a 19-year-old undergrad at UCLA. To further his vision, Manos decided to pursue an MFA in Media Design Practices at ArtCenter, attracted by the program’s description. “They were saying that they wanted to prepare designers for jobs that don’t exist yet,” Manos recalls, “and that was something that really excited me.” ArtCenter taught him that “it’s very much the invisible things as much as the visible things that are being designed,” he said. “So you can really have an impact on experiences, or emotions, or feelings, or systems and ideas. That was a major revelation for me.”

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Lab track 2-year

Term 1—FallColloquium 1Lab Core A: Structures 2Lab Core B: Interactions 2Lab Core C: Interventions 2Lab Projects 1 6Critical Frameworks 1 (Lab) 3

Term 2—SpringColloquium 1Lab Projects 2 12Critical Frameworks 2 (Lab) 3


Term 4—FallColloquium 1Lab Thesis 1 12Critical Practices 1 (Lab) 3

Term 5—SpringLab Thesis 2 12Critical Practices 2 (Lab) 3Completed Thesis 0


Lab track 3-year

Term 1—FallColloquium 1Media Design 1 2Creative Technology 1 4Dev Projects 1 6Critical Histories 1 3

Term 2—SpringColloquium 1Media Design 2 2Creative Technology 2 4Dev Projects 2 6Critical Histories 2 3

Term 3— FallColloquium 1Lab Core A: Structures 2Lab Core B: Interactions 2Lab Core C: Interventions 2Lab Projects 1 6Critical Frameworks 1 (Lab) 3

Term 4— SpringColloquium 1Lab Projects 2 12Critical Frameworks 2 (Lab) 3


Term 6—FallColloquium 1Lab Thesis 1 12Critical Practices 1 (Lab) 3

Term 7—SpringLab Thesis 2 12Critical Practices 2 (Lab) 3Completed Thesis 0


ChairStewart Reed

Executive DirectorGeoff Wardle

FacultyCandice-Leigh

BaumgardnerPamela Blackwell Tim BrewerParker Fredlund Maggie HendrieTim HuntzingerPhilippe MartinezLucian RoscaMark Shumate Pascual Wawoe

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90 Transportation Systems and DesignGeoff Wardle, Executive Director

Our Transportation Systems and Design students are developing com-pelling, sustainable and viable transportation and mobility solutions for an inspired future. For people passionate about the automotive industry and the expansive field of transportation and personal mobility, our Master of Science program encourages creativity and strategic thinking beyond the sketchpad to impact the vehicle manufacturing industry, and to create better, compelling trans-portation solutions at a systems level, rather than a product level. Because design brings value well beyond the areas of product and service development, our curriculum encompasses a combination of design methodology, strategic innovation, systems thinking, customer-driven research, political insight plus entre-preneurial and communication skills. The program’s students—with prior degrees in subjects such as design, architecture, urban planning, business, engineering, anthropology and eco- nomics—bring diverse perspectives and stimulate the transdisciplinary

culture that is essential to advance transportation design throughout the coming decades. Degree candidates participate in international confer-ences and conduct rigorous research; in collaborative teams they explore how to create the ideal user journey while preserving precious environ-mental resources. The College’s strong ties to government and industry provide direct access to organizations pushing the emerging fields of new mobility and alternative energies. This course of study encourages graduates to become agents of change prepared to reinvigorate industry across a broad landscape, from design studios and manufactur-ers to organizations responsible for transportation systems solutions at the national, state and local levels.

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2017–2018Transportation Systems and Design

David Day Lee (MS 14) believes the designer’s expertise lies in the creation of meaningful experiences. This belief is on abundant display in his master’s thesis project, CUVE, a mobility platform that discards preconceived notions of public transportation and offers a solution based on individual aspirations.

Inspired by ArtCenter’s recent expansion of its South Campus in Pasadena’s “Innovation Corridor,” five miles south of Hillside Campus, Lee and his fellow students were tasked with a challenge: design a better system of trans-porting students between the two campuses.

Lee’s research pointed to several insights that informed his solution: compelling and desirable experiences result from people exploring their identity, finding satisfying relationships and asserting their influences in a social context. How can a transportation system fulfill those very human needs and desires that transcend getting from point A to point B?

His solution? A crowd-branded transit experi-ence that links individuals, communities and spaces. His CUVE system of autonomous eight-passenger vehicles combines the predictability of buses with the flexibility of taxis to accommodate the organic spontaneity of people’s lives.

With smart “flex routes” that span multiple blocks, passengers can hail, board or disem-bark a vehicle at any point along the route. Further, CUVE would not only encompass a virtual and real space social network, but would act as a platform itself, allowing students to create a unique onboard social experience that would strengthen the community and, if expanded into the commercial realm, poten-tially result in revenue generation.

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Though Garrett DeBry came to Transporta-tion Systems and Design with a background in business, his love of design and making stretches back to his childhood days spent building houses with his father.

At ArtCenter, his class was challenged to design a transportation system to help students travel between ArtCenter’s Hillside Campus and South Campus. Whereas his classmate David Day Lee tackled the project with auton-omous vehicles (see pages 92 – 93), DeBry designed and built an eco-friendly recumbent personal transportation vehicle.

DeBry credits the methodologies taught in his Customer Centered Research course as being particularly influential in helping inform his vehicle’s design. By conducting in-the-field research, he learned many students felt uncomfortable relying on others for transpor-tation. Others described wanting to ditch their car for environmental and financial reasons, but felt bicycling four miles uphill was a non-starter.

Taking full advantage of ArtCenter’s Technical Skills Shop, DeBry built several full-scale prototypes of his vehicle and found that each iteration provided fresh insights. He learned how much storage space was needed to fit an average student’s personal belongings, determined which form factors were associ-ated with serious transportation versus recreational usage, and devised a folding mechanism that allowed for simple storage of the vehicle at work or home.

Another benefit of the iterative process? DeBry now has a series of physical models that show a progression and his thought process, factors he knows will set him apart professionally—which will come in handy when he takes his vehicle concept to market, a goal he’s determined to achieve.

Garrett DeBry

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Born in Beijing, Di Bao came to Transportation Systems and Design with a degree in indus-trial design from National Taipei University of Technology in Taipei, Taiwan. It was there that she took a transportation design course that covered everything from sketching and tape drawing to making clay models and shaping fiberglass shells. After that course she knew she wanted to pursue transportation design as a career, and set her sights on ArtCenter.

When Bao first heard that the graduate program placed a heavy emphasis on “trans-portation systems,” she thought that referred to the interplay between vehicles, roads, buildings and cities. Now she believes those systems encompass a wide variety of human experiences related to the transportation industry, some directly and others indirectly.

Bao’s understanding of transportation itself has expanded since studying at ArtCenter and she points to particularly eye-opening courses like Transportation Histories and Futures, which examines how past societies have envisioned the future of transportation, and Future Scenarios Development, which uses technological forecasts to extrapolate changes in store for transportation.

In User Interface Design Studio, Bao took on public transportation’s infamous “first- and last-mile problem” by conceiving of a smart-phone app that would take an individual’s exercise workout needs—be it walking, running or bicycling—and combine it with a bus or rail route to effectively kill two time-consuming birds with one stone. Bao’s app would also streamline the payment process for public transportation as well as provide context- sensitive information, such as safety tips for neighborhoods after hours.

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Typical length of study for the MS in Transportation Systems and Design is six full terms, and the program may be completed in two years.


Term 1Vehicle & Transportation Product Development 1Vehicle & Transportation Systems Architecture 1Customer Centered Research 2Concept and Systems Design Studio 3Digital Skills 3 Transportation Histories & Futures Part 1 1Visual Communications— Fundamentals OR Visual Communications— Advanced 3Introduction to Interaction Design 1

Term 2Transportation Histories & Futures Part 2 2Visual Communications— Fundamentals OR Visual Communications— Advanced 3Future Scenarios Development 1Interaction Design Studio Part 1 3Professional Development & Strategic Presentation 2Product Development & Manufacturing Technology 1Advanced Concept & Systems Design Studio 3

Term 3Interaction Design Studio Part 2 3Professional Presentation 3Business & Politics of the Transportation Industry 1Design Strategy Studio 3Strategic Prototype and Systems Design Studio Part 1 3Transportation electives 3

Term 4Strategic Prototype & Systems Design Studio Part 2 3Thesis Project Presentation 6Transportation electives 3

Term 5Thesis Development Studio 6Transportation electives 6

Term 6Thesis Development Studio 6Business & Product Development Studio 3Completed Thesis 0Transportation electives 3


Transportation Systems and Designakashchudasama.com

Akash Chudasama MS 15

Born and raised in Los Angeles, Akash Chudasama has always been obsessed with how things look, work and feel. From an early age, he pursued an attraction to things that move fast—cars, planes, rockets, stars, planets and comets. Combining practical sciences with the creative arts always came naturally to him. “I believe in approaching problems from a systems perspective, blending human needs, function, style, business, culture and technology.” Chudasama entered the Graduate Transportation Systems and Design program with a prior degree in Aeronautical and Aerospace Engineering. ArtCenter helped him develop his visualization skills to better

communicate his ideas to others, and also provided unique professional development opportunities including internships at the innovative start-up ICON Aircraft, at NASA’s Jet Propulsion Laboratory (JPL), and at the manufacturing company Kemac Technologies. In the process, Chudasama discovered an empathy for user experience and interaction design. After graduating, he accepted a position as a designer specializing in user experience at the very hush-hush Applied Minds group in Burbank, California. “I’m a designer,” he says, “seeking to help mold the future of how we move and live, on this planet and beyond.”

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3Art

Applications for Graduate Art are accepted for the Fall Term only. Applications are due January 15, but will continue to be reviewed if space is available.

1 Complete all general admissions requirements as listed above.

2 Submit your portfolio. (See p. 109.) The MFA program in Art is open to candidates work-ing in any medium. Applicants must present 15 to 20 samples of your most current work. Candidates working with film, video, performance or sound should provide completed examples of each piece. This can be done via Vimeo; send a link to your work on Vimeo to [email protected].

3 Written essays. a Letter of intent.

A letter of intent (1,000 words or less) should include discussion of how you think the Grad Art program can help you realize your goals as an artist. Your letter should also discuss the artists and the types of art that have had the biggest impact on your thinking about art. These need not be visual artists, but if not, give us some idea of how their influence is manifested in your work.

b Educational goals. Provide short responses to the following questions: (i) Why have you decided to pursue a graduate degree in art? (ii) What kind of artist do you want to be, and how would you like the Graduate Art faculty to help you to achieve this aspiration? (iii) Why have you chosen to apply to ArtCenter’s Graduate Art MFA program? (iv) What knowledge do you have of the program’s faculty, and how has this affected your decision to apply to the program? (v) What knowledge do you have about the program’s alumni, and how has this affected your decision to apply to the program?

4 Your resume. Include a short resume covering educational and relevant experience.

5 Letters of recommendation. One to three letters of recommendation can be emailed to [email protected], or mailed to the Admissions Office.


Applications for Environmental Design are accepted for the Fall Term only. Applications are due January 15. If space is available, reviews will continue and applica-tions will be accepted beyond that date. Check with the Admissions Office for availability.

There are two distinct programs of study within the Environmental Design Department:

Spatial Experience Design, MS degree Furniture and Fixtures Design, MS degree

In addition, there are two-year and three-year program options. The three-year option is suited to students who require additional design skill proficiencies.

Spatial Experience Design This track addresses the relationships among 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 transdis-ciplinary 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, architec-ture or interior architecture.

Furniture and Fixtures Design This track investigates the relationships among 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 roles of furniture in our living and working environments are explored. The design focus goes well beyond style to consider the links among the user, brand, function and the industry.

This is a program for students who want to elevate their understanding of production furniture and its relation-ship to manufacturing, materials and market. Students will often have a prior degree in environmental, product or furniture design or a major with strong 3D making and conceptual skill sets.

1 Complete all general graduate admissions requirements. (See p. 102.)

Applications for admission to ArtCenter’s graduate programs are submitted to the Admissions Office. The faculty and chair of the specific graduate program, along with Admissions staff, compose the Admissions Committee that makes the evaluation and final admis-sions decision regarding each candidate. Graduate programs vary from four to seven semesters depending on the program and the option into which you are accepted. The acceptance process is independent of whether you apply for financial aid.

Admissions information can also be viewed online at artcenter.edu.

Degrees offeredMaster of Fine Arts (MFA) Art Film Graphic Design Media Design Practices

Master of Science (MS)Environmental DesignIndustrial Design – Innovation Systems Design

MS/MBA Dual DegreeTransportation Systems and Design

Special student nondegree programs

ArtCenter accepts a limited number of nondegree 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 frame. All application procedures and requirements, as well as tuition, are as outlined for the degree programs. Financial aid is not available.

Veterans ArtCenter is approved for veterans’ study under several GI bills, including the Yellow Ribbon program. Veterans should contact the Financial Aid office at 626 396-2215 for information.

Counseling and visitingGraduate students should call Admissions at 626 396-2373 to arrange an appointment or, as possible, a visit directly with the department to which you are applying. The Art, Graphic Design, and Media Design Practices programs are housed at South Campus; all other programs are at Hillside Campus. Look for graduate admissions events online at artcenter.edu/connect/events.

Application and portfolio requirements

The following materials constitute a complete applica-tion. No application will receive a final decision until all of these materials have been received by the Admissions Office: ArtCenter College of Design, 1700 Lida Street, Pasadena, CA 91103.

General admissions requirements for all master’s degree programs:

1 A completed admission application. Download or complete online at artcenter.edu.

2 A nonrefundable application fee. The fee is $50 for U.S. citizens and permanent residents 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 7.0 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 7.0 on the IELTS to be considered for admission. We are not registered for electronic download of IELTS scores. We do not accept institutional versions of either test. Visit toefl.org or ielts.org for registration and testing information.

5 Program-specific requirements. Please refer to each academic department’s text below for additional requirements by program.

6 Review the section “Submitting your portfolio” on p. 109, along with each department’s guidelines for methods of submission. Note: If work in the portfolio represents a collabora-tion, then state what role the applicant played.

7 Interviews. In-person, Skype or telephone interviews may be requested.


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5Graphic Design

Graphic design is a process to create change. Change is made to happen by designers committed to great ideas. We educate those designers to "See, Do and Lead." We make design influential in companies, communities and society, and extend the boundaries of design in all directions. We create leaders to globally drive the next generation of the creative profession.

Applications for Graphic Design are accepted for the Fall Term only. Applications are due by January 15 for priority consideration but will continue to be reviewed if space is available.


2 Submit your portfolio. (See p. 109.) Applicants must submit a portfolio that reflects a range of graphic design work across media and a fluency in typography. Pieces that exhibit an individual point of view, or a unique approach to a problem, are encouraged. The portfolio should be edited to highlight the applicant’s best and most relevant work. Include a minimum of 15–20 pieces or projects that show a range of skills. Where applicable, include a brief written description of the project. Collaborative or commercial pieces should clearly state the applicant’s contribution or role.

3 Essays. a Statement of intent.

Applications must include a personal statement of focus and intent. The essay should outline the applicant’s motivation for pursuing graduate study in Graphic Design at ArtCenter and identify a specific goal and focus of study. The statement of intent should be clear and concise, between 500–1,500 words in length.

b Personal essay. In 750–1,000 words, provide detailed information about your relevant personal, educational, and professional experience. Include your skill level with software, typography, and any media-specific skills (coding, spatial design, etc.). The statement should also include goals beyond completion of the program and describe how a graduate degree from ArtCenter will relate to your career objectives. Personal statements can range in content; the goal is to discover your relevant life experience, goals and personal passion.

3 Resume. Include a resume that outlines your educational and professional background and relevant experiences and activities, including community work.

4 Letters of recommendation. Letters of recommendation (one to three) from academic and professional references are strongly encouraged. They can be emailed to admissions @artcenter.edu or mailed to the Admissions Office. References should be from people who are familiar with the applicant’s work and experience, and should speak to an ability to conceptualize, execute and communicate design.

2 Submit your portfolio. (See p. 109.)

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. Prospec-tive students need to submit at least three complet-ed spatial projects. These projects should be fully documented with indication of goals, research, hand sketch development, digital and hand model making. The conceptual design process should include variations on ideas as well as demonstration of the path that led to final solutions. Related artwork can be included if it informs the understanding of your background.

Furniture and Fixtures track applicants: Students should have a background in furniture and fixture investigation and be experienced in the fabrication process in both hand and digital skill sets. Submit at least three completed full-size prototype furniture or fixture projects, including sketching, model making and documentation of the complete design development process. The latter should include variations on ideas as well as demonstration of the path that led to final solutions. Related artwork can be included if it informs the understanding of your background.

3 A written essay. Provide a written statement that delineates your motivation for pursuing a graduate program and your reasons for the choice of track. This should include topics and areas of interest as well as specific goals to be undertaken in the program. You should also describe specific skills and competencies you want to achieve. The statement should also include your goals beyond completion of the program and describe how a design education will relate to your career objectives.

4 Your resume.

Film

Film applicants can apply for the Fall Term only. The priority date for receipt of the application is January 15, including scholarship consideration, but applications will continue to be reviewed if space is available.


2 Submit your portfolio. (See p. 109.) Submit at least two completed film or video projects that demonstrate your visual narrative storytelling abilities as a filmmaker. The total running time of the work you submit should be at least five minutes but should not exceed 20 minutes.

Portfolios must include narrative films; i.e., those with distinct storylines, plot development and character arcs. Submitted work can include short films of any genre, documentaries, or multiple commercials or music videos, but all work must demonstrate your narrative storytelling abilities. Your work should also demonstrate a high level of proficiency in cinematography, lighting, staging, editing and sound. At least one of your projects should employ sync sound with dialogue. Submit only projects on which you played a key creative role as director, cinematographer or editor—this includes applicants interested in the Producing concentration.

Portfolio work is only accepted via link to Vimeo by indicating your link along with your application. Applicants can provide links to their work via email to [email protected]. You must include your full name and address, plus the names of your projects and the creative role you played on each. For those who do not have access to these services, we will accept a DVD formatted in the NTSC video standard. All other formats, including data discs, will not be accepted.

3 Written statements. a Personal statement.

In a statement accompanying your application, we are interested in learning what inspires you to make films, what sorts of films you want to make, and a brief description of your favorite filmmakers. Explain why you feel they are important. In what ways do you want your own work to contribute to or make a difference in the world, and how? We are also interested in hearing about any profes-sional experience that you have accrued in the film industry.

b Graduate proposal. Submit a graduate proposal that defines a filmmaking project that will engage you during your course of study. While the proposal may be preliminary, it must nevertheless be specific and take the form of a one-page story treatment for a potential film project.

4 Your resume.


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Media Design Practices

Media Design Practices / Lab + Field (MDP) brings interdisciplinary design practices to a world of cultural and technological change. MDP seeks individuals who want to use design to understand and change the world. We are looking for risk-takers with varied inter-ests who pursue design and critical inquiry with depth, intelligence, empathy and passion.

Media Design Practices offers two tracks: Lab and Field.

In the Lab track, students work with emerging ideas from technology, science and culture using design as a mode of critical inquiry in a studio context. External partners—from Caltech scientists to Silicon Valley engineers—bring expertise, resources and the latest advances into the studio.

In the Field track, students work in a real-world context where social issues, media infrastructure and com-munication technology intersect. A collaboration with Designmatters, ArtCenter’s social impact department, the curriculum includes firsthand experience in the field. In 2016–17, students will work out of the UNICEF office in Mexico City.

For either track, students can apply for either a two-year or three-year course of study.

MDP selects applicants for the two-year option who are designers with exceptional training and experience in the visual, spatial, interactive and graphic design fields, and who can realize high-level concepts with skill in visual communication and interactive design.

For three-year applicants, we accept both accomplished and burgeoning designers from a broad range of backgrounds who bring valuable perspectives to the practice of design. The Development Year provides a design curriculum that prepares applicants to integrate past experience into a design approach that is fully realized in their concept year and thesis work.

Students enter in the Fall Term only. Applications for both Lab track and Field track are due on January 15 for priority consideration, including potential scholar-ship awards. Applications received after the deadline will be considered based on available space.


2 Submit your portfolio. (See p. 109.) The design portfolio is the cornerstone of the

application. The portfolio should be a curated body of work that demonstrates the applicant’s expertise in the conception and creation of sophisticated design and other relevant works (e.g., creative or critical writing, business plans, software, curriculum, research, grants, etc.).

The portfolio must demonstrate versatility, criticality, rigor, point of view, willingness to discover, and accomplishment working with graphic, visual, inter-active, spatial or experiential media. Projects can be professional, self-initiated and/or class assignments. Applicants are encouraged to include work that demonstrates process, research, experimentation and a spirit of inquiry. 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.

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.

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 ArtCenter and discuss personal goals for the future, along with areas of interest and relevant experience. Applicants also need to answer the writing assignment listed below for their chosen track only. The statement of intent should be clear and concise, between 500–1,500 words in length.

Applicants to the Lab track should address the following:

Choose two inquiry-led design projects (projects designed to pose questions) and discuss each pro-ject in terms of its questions, process, rigor, creative iterations, success and/or interesting failures. Which aspects would you take forward and which would you leave behind as you pursue new critical questions of your own? What would those questions be? We encourage you to include one of your own projects, especially if you have a self-initiated project in which you determined the process and critical direction.

Applicants to the Field track should address the following:

Choose two socially engaged design projects and discuss each project in terms of its process, engagement, orientation, scalability, sustainability, ethics and politics. Which aspects would you take

Industrial Design and Innovation Systems Design

The Graduate Industrial Design (GradID) program is looking for bright, articulate and creative individuals who are driven to make a better future.

The students who thrive in our program and then beyond in their careers are innovators at their core but, for one reason or another, might have travelled down a different path in their prior endeavors.

We expect that the future of innovation will involve multidisciplinary teams—so we emphasize being a multidisciplinary program. Each new class is a whole orchestra—not just the string section. We accept students who have earned undergraduate degrees in a wide variety of disciplines. We consider the diversity of our students’ backgrounds and life experiences as important factors in creating a unique shared educa-tional experience. Our student body typically compris-es extraordinary individuals from around the world, preferrably with some years of professional work and life experience that complements the completion of their undergraduate studies.

Applications for GradID are accepted for the Fall Term only and are due January 15 for priority consideration, including the best potential for scholarship awards. Applications will be accepted for review as long as space remains available. Please contact the Admissions Office regarding ongoing availability.

Innovation Systems Design (ISD) is a dual MS/MBA degree offered by ArtCenter College of Design and the Drucker School of Management. This program combines the Drucker School of Management’s strategy, leadership and management acumen with the rigorous development of creative skills and design innovation methodology found in ArtCenter’s Graduate Industrial Design program to best prepare tomorrow’s innovation leaders. Students can apply for the ISD program after enrollment in the ArtCenter Industrial Design program. Applications are not considered at the time of entry to ArtCenter, but will be reviewed after the students’ second term of enrollment.


2 Submit your portfolio. (See p. 109.) Submit work that demonstrates your design and innovation abilities. Include examples of projects that show your process and how you develop your ideas into the project results. Sketchbooks and documentation of early idea development are welcome additions that complement more finished portfolios. We look for abilities to:

– think and operate in terms of projects. – take a systems approach to design solutions. – write and communicate effectively.

– envision and produce broadly desirable 3D objects and spaces.

– produce a high level of aesthetic sensibility in production; e.g., style, proportion, shape, material, color, etc.

– draw and/or otherwise visualize new ideas. – identify important opportunities and needs. – research, investigate and analyze design topics. – experiment, think laterally and engage in creative

idea generation activities. – develop desirable solutions for real needs and pro-

blems that create value for the human condition. – consider and plan for related business dynamics. – exploit and employ appropriate technologies. – profess expertise and depth in specific areas or

disciplines.

3 Two written essays, as follows:

a Please describe: (i) your motivations for pursuing study in GradID, (ii) why you think it is a good fit for you, and (iii) what you envision you would ideally be doing five to 10 years after successful completion of the program.

b In 2,000 words or less, please answer the follow-ing: If you were given a budget of $10 million and an uninterrupted time period of two years to work creatively on anything that you wanted to, what would you pursue and why?

4 Your resume.

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Also describe specific skills and competencies you want to achieve. The statement should articulate goals beyond completion of the program and describe how a design education will relate to your career objectives. You may also indicate your particular interest in the future of transpor-tation. This should make reference to the types of transportation systems that are of special interest and an explanation of their potential social impact.

b Required essay question. In a proposal of 2,000 words or less, please respond to the following: If you were the chief transportation officer for the city of your choice, in which you had adequate budget to pay for advanced transportation solutions, what would be your recommendations to make your city a better place to live, work and play? Explain your choice of city and what transportation challenges it faces, along with your specific solutions as they relate to the impact of transportation.

4 Resume. Please submit a formal resume and bio covering

educational and relevant prior experience.

Submitting your portfolioFollowing are the methods for submitting your work. Look for exceptions under each department’s guidelines.

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

2 Nonreturnable 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 pre-sentation or project formats are appropriate. Copies of sketchbook work can be included in this format along with the portfolio. Work will not be returned. Mail to: Admissions Office, ArtCenter College of Design, 1700 Lida St., Pasadena, CA 91103.

3 Vimeo for Film applicants. Film applicants must provide a link to their work on Vimeo via an email to [email protected]. Include your full name and address, plus the names of your projects and the creative role you played on each.

Notifications, tuition deposit and deferrals

Application notifications

Applicants will be notified of the Admissions Committee’s decision in writing no later than early April. ArtCenter reserves the right to rescind an offer of admission at its discretion, such as if any information contained in the application is found to be incomplete, inaccurate or misleading or if additional information leads to serious concerns.

Tuition deposit

Spaces in the graduate programs are limited. Spaces are reserved based on receipt of a $400 nonrefund-able tuition deposit and are accepted on a first-come, first-served basis. Applicants should be aware that the status of openings can change very quickly, spaces are not guaranteed, and they can consider their space reserved only after receiving a written confirmation from the Admissions Office.

Deferrals

Deferrals of admission are not possible except by special permission by the department.

Transfer credit

Transfer credit for graduate classes is limited in nature and is offered at the discretion of the individual graduate program. Studio transfer credit is evaluated based on portfolio equivalency to ArtCenter classes and a tran-script demonstrating eligible classes.

forward and which would you leave behind as you pursue new critical questions of your own? What would those questions be? We encourage you to include one of your own projects, especially if you have a self-initiated project in which you determined the process and critical direction.

4 Your resume. Include a resume summarizing your educational

and professional background. It should highlight relevant academic studies, project work, awards and achievements, and work experience.

5 Letters of recommendation (one to three) from academic and professional references. References should be from people who are familiar with the applicant’s work and experience, and should speak to an ability to conceptualize, execute and communicate design.

Transportation Systems and Design

The Transportation Systems and Design program seeks gifted, articulate, thoughtful individuals who are self-motivated and who would like to help transporta-tion industries and agencies change the way they think. Diversity and breadth of background play an important role in defining the transdisciplinary culture of the program.

Applications are accepted for the Fall Term only. Applications are due on January 15 for priority consid-eration, including potential scholarship awards. If space is available, reviews will continue and applications will be accepted beyond that time. Check with the Admissions Office for availability.

Although there is considerable overlap in course work, students may focus on systems design or vehicle design.

The first area is for students who want to focus on using design and systems thinking to create smart and innovative transportation solutions rather than design vehicles per se. Students will have a desire to create change by engaging across disciplines and into areas such as policy-making, business strategy and urban planning as related to transportation systems.

A vehicle design focus is appropriate for students wishing to enter or to 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.


2 Submit your portfolio. (See p. 109.) You may include vehicular projects that demonstrate

high levels of transportation design competency. These should demonstrate creativity, critical thinking, problem solving, originality of solutions, excellent visualization/drawing skills, 3D exploration, good organizational ability, the ability to research, and a sense of curiosity and inquiry. Evidence of previous study of transportation design and competency will be expected.

If your primary interest is in systems, you can incorporate a variety of projects, but should include some samples of transportation system concepts. Demonstration of critical thinking, problem solving, originality and organizational ability are important. Concepts should be demonstrated through drawing.

3 Written essays. a Statement of intent.

Provide a written statement that delineates your motivation for pursuing a graduate program in Transportation Systems and Design. This should include topics and areas of interest to be under-taken in the program as well as personal goals.


11111

0individual with a disability shall be denied access to or participation in the services, programs and activities of the College. For further information about how ArtCenter is able to accommodate students with disabilities, please visit artcenter.edu.

Clery Act and Student Right-to-Know Act ArtCenter 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 Chief of Campus Security and on our website, with our crime statistics available through the U.S. Department of Education at ope.ed.gov/security.

Graduation rates The Student Right-to-Know Act mandates that all institutions disclose their retention rate and six-year graduation rate. The first-year retention rate for first- time freshmen who entered in Fall 2014 was 76 percent. The six-year graduation rate for first-time freshmen who entered in Fall 2009 was 68 percent. (This infor-mation does not include transfer, exchange or special nondegree students.) For further information, please call Enrollment Services at 626 396-2316.

Changes to policies, procedures and fees ArtCenter reserves the right to change or modify tuition, fees, the calendar, or discontinue or modify course of-ferings, majors, graduation requirements, rules, policies and procedures as it deems necessary or appropriate. Students will be provided with notice of these changes whenever possible through means such as the College website, posted notices or the Student Handbook. No exceptions may be made to any of the academic or academic-related policies. No representation by any College employee to the contrary may be considered authorized or binding.

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

Academic calendar 2016

Fall Term


2017

Spring Term


Summer Term

May 9–12 Orientation May 13 Classes begin May 29 Memorial Day holiday July 4 Independence Day holiday August 19 Classes end

Fall Term


2018

Spring Term


Summer Term

May 8–11 Orientation May 12 Classes begin May 28 Memorial Day holiday July 4 Independence Day holidayAugust 18 Classes end

Only graduate-level classes with a "B" grade or better on an official transcript are eligible for consideration. In order to be considered, any prospective transfer credits must be from colleges or universities that are accredited by one of the six regional associations of schools and colleges. International transcripts will be evaluated on an individual basis.

A maximum of 15 credits total may be transferred. Notification of any prematriculation transfer credit will be provided at the time of admission.

Tuition and fees for graduate students

Visit artcenter.edu or call the Admissions Office for the most current tuition rate. The tuition for Fall 2016 and Spring and Summer 2017 is $21,162 per term. Students should expect tuition increases on an annual basis, with increases occurring in the Fall Term.

Universal access feeA $275 fee is charged each term to all students for access to ArtCenter labs and shops. Fees are subject to change and are refundable on the same schedule as tuition.

Financial aid and scholarshipsArtCenter encourages all students in need of financial aid to apply for funding. Graduate students are eligible for several federal loan programs and Federal Work Study, and can apply for ArtCenter scholarships, which are generally need- and merit-based. Request the Finan- cial Aid brochure at 626 396-2373 or visit artcenter.edu for more detailed information.

Application procedure

U.S. citizens and permanent residents must complete both the admissions requirements and the FAFSA (Free Application for Student Aid) to be considered for scholarships and financial aid. International students need only submit admissions materials.

All applicants should meet the priority scholarship application deadline for the term for which they are ap-plying. Depending on availability, it may still be possible to receive aid if those dates are not met.

Priority scholarship deadline Fall Term: January 15

Notification of scholarship awards Accepted applicants who meet the priority dates will be notified in writing by April 1.

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

Arrival and housingPlease call on the Center for the Student Experience staff to help with questions or needs related to your arrival. While ArtCenter does not offer on-campus housing, the Center for the Student Experience coordinates information regarding local housing and roommate options on a housing website at offcampushousing.artcenter.edu.

New student orientation and class scheduling

Graduate students will attend an Orientation program the week prior to the start of classes, and will have access to their schedule of classes at that time.

Living expenses and supplies

Living costs vary greatly based on the type of housing the student chooses. However, we estimate a generous average amount for rent and food per term to be $6,700 for students not living at home. Students should allow an average of $1,800 for personal expenses, $1,400 for transportation, and $2,000 for supplies each term. The supply amount is variable by major and individual projects.

ArtCenter student health insurance

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

Term/semester system

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

Institutional disclosures and other policies

For the most current and complete list of disclosures and policies, visit artcenter.edu.

Family Education Rights and Privacy Act (FERPA)ArtCenter complies with the Family Education Rights and Privacy Act (FERPA) and its accompanying regula-tions, which afford students certain rights with respect to their education records. To view the complete FERPA policy, please visit artcenter.edu.

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

Disability policy ArtCenter 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


2At a glance

Year founded1930

AffiliationPrivate, nonprofit institution Graduate enrollment218 (55% men, 45% women)

Graduate enrollment by program Art 32 Environmental Design 20 Film 50 Industrial Design 43 Media Design Practices 43 Transportation Systems and Design 29Non-degree 1

Average age of graduate students28.2 years old

Ethnicity of graduate studentsAfrican American/Black 1%American Indian/Alaska Native 0%Asian 11%Caucasian 22%Hawaiian/Pacific Islander 1%Hispanic/Latino 6%Two or more races 3%Unknown/Undeclared 3%International 52%

Average job-placement rate one year after graduation for students who receive a master’s degree*77.8% (based on alumni-survey responses of 29.7%)

All figures reflect Fall 2015 data unless otherwise specified.

ArtCenter College of Design™ is accredited by the WASC Senior College and University Commission (WSCUC), and by the National Association of Schools of Art and Design (NASAD). Access to ArtCenter’s accreditation report is available through the College’s Center for Educational Effectiveness.

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

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

* Data from Annual Graduate Employment Survey distributed to one-year-out graduates (graduates from Spring, Summer and Fall 2014). Employment rates are calculated by graduates indicating a primary status of “working full-time” or “working part-time” one year post-graduation.

Published by the Department of Marketing and Communications

Chairman of the Board of TrusteesRobert C. Davidson, Jr.

PresidentLorne M. Buchman, PhD

Senior Vice President, Admissions and Enrollment ManagementKit Baron

ProvostFred Fehlau (BFA 79, MFA 88)

Vice President, Marketing and Communications Jered Gold

Design teamCreative DirectorScott Taylor

Art DirectorWinnie Li (BFA 92)

DesignerXavier Cerrilla (BFA 08)

Director of ProductionEllie Eisner

Production DesignerAudrey Krauss

Editorial teamEditorial DirectorSylvia Sukop

Senior WriterMike Winder

Contributing writerLynne Heffley

CopyeditorKathy Barreto

Editorial assistanceAnna Macaulay

PhotographyPhotographerJuan Posada

Contributing photographersAlex Arestei (BFA 08)Crystal JeanStella Kalinina (BFA 13)

Production creditsFontNeue Haas Grotesk (Linotype)

PaperNeenah Classic Crest CoverMunken Lynx TopKote Gloss TextAll FSC Certified

PrinterClear Image Printing Co. Glendale, California

Colophon

ArtCenter 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.

ArtCenter faculty respond quickly to changes in technology and innovations within specific design disciplines; please consult our website for updated informa-tion regarding Programs of Study.

© 2016 ArtCenter College of Design. All rights reserved. No part of this publication may be reproduced or trans- mitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any informa-tion storage or retrieval system, without written permission of the publisher.

ArtCenter College of Design1700 Lida Street, Pasadena, CA 91103626 396-2200artcenter.edu

4380 | 8M | 0916

Index

artcenter.edu

Academic programs Art 17 Environmental Design 29 Film 41 Graphic Design 53 Industrial Design 65 Media Design Practices 77 Transportation Systems and Design 89Admissions 101Application notifications 109Application procedure 110Application requirements 102 Art 103 Environmental Design 103 Film 104 Graphic Design 105 Industrial Design 106 Media Design Practices 107 Transportation Systems and Design 108

Art 17 Program of study 27ArtCenter at a glance 112Calendar, academic 111Cleary Act and Student Right-to-Know Act 111Deferrals 109Degrees offered, graduate 102Disability policy 110Drucker School of Management 66Environmental Design 29 Program of study 39Family Education Rights and Privacy Act (FERPA) 110Film 41 Program of Study 51Financial aid 110 Deadlines 110Graduate studies overview 2Graduation rates 111Graphic Design 53 Program of study 63Health insurance 110Housing 110

Industrial Design 65 Program of study 75Innovation Systems Design 66Living expenses 110Loans 110Media Design Practices 77 Program of study 87Nondegree programs 102Nondiscrimination policy 110Orientation 110Portfolio submission 109Scholarships 110Tours, campus 102Transfer credit 109Transportation Systems and Design 89 Program of study 99Tuition and fees 110 Deposit 109Work study 110

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