Provost's Message - Otis College of Art and Design

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Provost’s Message

The oldest independent art school in Los Angeles, Otis College of Art and Design is deeply committed toacademic excellence, diverse learning styles, creative perspectives, and the unique development andeducation of every student. Studying at Otis prepares you to be innovative, collaborative and self-driven with informed knowledge and adaptable skills in a range of contemporary art and design practices.

In the graduate programs, students develop individual relationships with internationally recognized faculty, and quickly become part of the local and global community of Los Angeles artists and designers. This creative and vibrant context provides personalized support, helps establish networks in the field, and advances your work and professional opportunities in art, public practice, writing orgraphic design.

Central to Otis’ undergraduate education is the Integrated Learning program, an interdisciplinary,collaborative experience that engages students with Los Angeles and its communities, providing insightinto the cultural, social, environmental, and political issues of the city. Through this program you learn to work in teams with others from across the College, gaining an understanding of the ways artists anddesigners contribute and initiate change in the world.

Otis has a growing commitment to sustainability. In addition to specific studio projects in the major, Otis is integrating the teaching of sustainability into its core curriculum through courses in Foundation,Liberal Arts and Sciences, and Integrated Learning. By developing an awareness of sustainability, you are better prepared to ask the right questions, to take a position, and to contribute positively to the future.

The ongoing use of the Learning ePortfolios across the curriculum provides a way for undergraduates to collect work, reflect on their learning, and make connections between courses, from year to year, inside and outside (within and beyond) the classroom.

These and other initiatives are included here in the Course Catalogue, a guide for your educational experience at Otis. It contains the curriculum, departmental goals, degree requirements, and offerings of the undergraduate and graduate programs of the College. It also includes information about the faculty in each area, and is an important reference for information concerning the academic and collegepolicies for the 2010-2011 academic year.

The course listings, updated each semester in the Schedule of Courses, include the core courses for your program of study, as well as a range of electives, both in and outside of your department, that broaden your education and provide breadth to your knowledge as a future artist or designer.

Welcome to Otis! I know you will find a home in the Otis community of artists and designers.

Gwynne KeathleyInterim Provost

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Table of Contents

01 Provost’s Message

04 Academic Calendars

08 Foundation

18 Artists Community &

Teaching Program

24 Architecture/Landscape/Interiors

32 Communication Arts

50 Digital Media

68 Fashion Design

78 Fine Arts

92 Integrated Learning Program

100 Interdisciplinary Concentration

102 Liberal Arts and Sciences

132 Product Design

140 Toy Design

148 Graduate Fine Arts

154 Graduate Writing

158 Graduate Public Practice

166 Graduate Graphic Design

177 Academic Policies

188 Financial Policies

190 General Campus Policies

Otis College of Art and Design has the right to apply and enforce any and all of the rules and regulationsset forth in this catalogue, as well as any other rules and regulations of the College not set forth herein. The catalogue and its contents, however, in no way serve as a binding contract between the student andthe College. The information in this publication is subject to change at any time, for any reason, at theunilateral discretion of the College without prior notice to or approval of the student.

Otis College of Art and Design is accredited by the Accrediting Commission for Senior Colleges andUniversities of the Western Association of Schools and Colleges (WASC) 985 Atlantic Ave., Suite 100,Alameda, CA 94501, (510) 748.9001 and the National Association of Schools of Art and Design(NASAD).

Class Meetings

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Fall 2010 Calendar

Monday, August 30 – Saturday, December 18

Week Monday Tuesday Wednesday Thursday Friday Saturday

1 Aug. 30 Aug. 31 Sept. 1 Sept. 2 Sept. 3 Sept. 4 2 Sept. 13 Sept. 7 Sept. 8 Sept. 9 Sept. 10 Sept. 11 3 Sept. 20 Sept. 14 Sept. 15 Sept. 16 Sept. 17 Sept. 18 4 Sept. 27 Sept. 21 Sept. 22 Sept. 23 Sept. 24 Sept. 25 5 Oct. 4 Sept. 28 Sept. 29 Sept. 30 Oct. 1 Oct. 2 6 Oct. 11 Oct. 5 Oct. 6 Oct. 7 Oct. 8 Oct. 9 7 Oct. 18 Oct. 12 Oct. 13 Oct. 14 Oct. 15 Oct. 16 8 Oct. 25 Oct. 19 Oct. 20 Oct. 21 Oct. 22 Oct. 23 9 Nov. 1 Oct. 26 Oct. 27 Oct. 28 Oct. 29 Oct. 30 10 Nov. 8 Nov. 9 Nov. 3 Nov. 4 Nov. 5 Nov. 6 11 Nov. 15 Nov. 16 Nov. 10 Nov. 11 Nov. 12 Nov. 13 12 Nov. 22 Nov. 23 Nov. 17 Nov. 18 Nov. 19 Nov. 20 13 Nov. 29 Nov. 30 Dec. 1 Dec. 2 Dec. 3 Dec. 4 14 Dec. 6 Dec. 7 Dec. 8 Dec. 9 Dec. 10 Dec. 11 15 Dec. 13 Dec. 14 Dec. 15 Dec. 16 Dec. 17 Dec. 18

HolidaysLabor Day Monday, September 6 Election Day Tuesday, November 2 Thanksgiving Break Wednesday, Nov. 24–Sunday, Nov. 28

Important DatesOpen Registration Monday, Apr. 12 - Friday, May 7 Registration Payment Deadline Saturday, July 24 Late Registration ($275 late fee) Monday, Aug. 2 - Friday, Aug. 27Classes Begin Monday, Aug. 30Course Add Deadline Tuesday, Sept. 7Independent Study Proposal Deadline Tuesday, Sept. 7Course Drop Deadline Tuesday, Sept. 14First Quarter Warnings Tuesday, Sept. 21 – Monday, Sept. 27Midterm Exams & Warnings Tuesday, Oct. 12- – Monday, Oct. 18 Course Withdrawal Deadline Tuesday, November 9Third Quarter Warnings Wednesday, Nov. 10 – Tuesday, Nov. 16Spring Registration Begins Monday, Nov. 22Final Exams Monday, Dec. 13-Saturday, Dec. 18 Spring Payment Deadline Wednesday, December 15 Spring Open Registration Deadline Wed., Dec. 15 ($275 late fee after this date)

Classes End Saturday, Dec. 18

ClassMeetings

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Spring 2011 Calendar

Tuesday, January 18 – Tuesday, May 10

Week Monday Tuesday Wednesday Thursday Friday Saturday

1 Jan. 24 Jan. 18 Jan. 19 Jan. 20 Jan. 21 Jan. 22 2 Jan. 31 Jan. 25 Jan. 26 Jan. 27 Jan.28 Jan. 29 3 Feb. 7 Feb. 1 Feb. 2 Feb. 3 Feb. 4 Feb. 5 4 Feb. 14 Feb. 8 Feb. 9 Feb. 10 Feb. 11 Feb. 12 5 Feb.28 Feb. 15 Feb. 16 Feb. 17 Feb. 18 Feb. 19 6 Mar. 7 Feb. 22 Feb.23 Feb. 24 Feb. 25 Feb.26 7 Mar. 14 Mar. 1 Mar. 2 Mar. 3 Mar. 4 Mar. 5 8 Mar. 28 Mar. 8 Mar. 9 Mar. 10 Mar. 11 Mar. 12 9 Apr. 4 Mar. 15 Mar. 16 Mar. 17 Mar. 18 Mar. 19 10 Apr. 11 Mar. 29 Mar. 30 Mar. 31 Apr. 1 Apr. 2 11 Apr. 18 Apr. 5 Apr. 6 Apr. 7 Apr. 8 Apr. 9 12 Apr. 25 Apr. 12 Apr. 13 Apr. 14 Apr.15 Apr. 16 13 May 2 Apr. 19 Apr. 20 Apr. 21 Apr. 22 Apr. 23 14 May 9 Apr. 26 Apr. 27 Apr. 28 Apr.29 Apr. 30 15 May 10(Tu) May 3 May 4 May 5 May 6 May 7

HolidaysMartin Luther King, Jr. Holiday Monday, January 17Presidents’ Day Holiday Monday, February 21Spring Break Monday, March 21 - Sunday, March 27

Important DatesSpring Payment Deadline Wed., December 15 Open Registration Deadline Wed., Dec. 15 ($275 late fee after this date)

Late Registration ($275 late fee) Tuesday, Jan. 4 - Friday, Jan. 14 Classes Begin Tuesday, Jan. 18 Course Add Deadline Tuesday, Jan. 25 Independent Study Proposal Deadline Tuesday, Jan. 25 Course Drop Deadline Tuesday, Feb. 1 First Quarter Warnings Tuesday, Feb. 8 - Monday, Feb. 14 Named Scholarship Application Deadline Tuesday, Feb. 15 Cal Grant Deadline Wednesday, March 2 Midterm Exams & Warnings Saturday, Mar. 5 - Friday, Mar. 11 Course Withdrawal Deadline Tuesday, Mar. 29 Third Quarter Warnings Tuesday, April 12- Monday, April 18 Fall Registration Begins Monday, April 18 Final Exams Tuesday, May 3 - Tuesday, May 10 Classes End Tuesday, May 10 Fall Open Registration Deadline Friday, May 13 Fall Payment Deadline Sunday, July 24 Commencement Saturday, May 14

ClassMeetings

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Summer 2011 Calendar Bachelor of Fine Arts Program

Monday, May 23 – Tuesday, August 2

Week Monday Tuesday Wednesday Thursday Friday

1 May 23 May 24 May 25 May 26 May 27 2 June 6 May 31 June 1 June 2 June 3 3 June 13 June 7 June 8 June 9 June 10 4 June 20 June 14 June 15 June 16 June 17 5 June 27 June 21 June 22 June 23 June 24 6 July 11 June 28 June 29 June 30 July 1 7 July 18 July 5 July 6 July 7 July 8 8 July 25 July 12 July 13 July 14 July 15 9 Aug. 1 July 19 July 20 July 21 July 22 10 Aug 2 (Tu) July 26 July 27 July 28 July 29

HolidaysMemorial Day Monday, May 30Independence Day Holiday Monday, July 4

Important DatesSummer Payment Deadline Sunday, May 15 Classes Begin Monday, May 23 Course Add Deadline Tuesday, May 31 Independent Study Proposal Deadline Tuesday, May 31 Course Drop Deadline Tuesday, June 7 First Quarter Warnings Tuesday, June 7-Monday, June 13 Midterm Exams & Warnings Tuesday, June 21-Monday, June 27 Course Withdrawal Deadline Friday, July 8 Third Quarter Warnings Tuesday, July 12-Monday, July 18 Final Exams Tuesday, July 26-Tuesday, August 2 Classes End Tuesday, August 2

SUMMER 2011 CLASS MEETING DATES – Graduate Graphic Design Program Only Monday, June 13 – Monday August 22 Week Monday Tuesday Wednesday Thursday Friday 1 June 13 June 14 June 15 June 16 June 17 2 June 20 June 21 June 22 June 23 June 24 3 June 27 June 28 June 29 June 30 July 1 4 July 11 July 5 July 6 July 7 July 8 5 July 18 July 12 July 13 July 14 July 15 6 July 25 July 19 July 20 July 21 July 22 7 Aug. 1 July 26 July 27 July 28 July 29 8 Aug 8 Aug 2 Aug 3 Aug 4 Aug 5 9 Aug 15 Aug 9 Aug 10 Aug 11 Aug 12 10 Aug 22 Aug 16 Aug 17 Aug 18 Aug 19 Holidays Independence Day Holiday Monday, July 4 Important Dates Summer Payment Deadline Sunday, May 15 Classes Begin Monday, June 13 Course Add Deadline Tuesday. June 21 Independent Study Proposal Deadline Tuesday, June 21 Course Drop Deadline Tuesday, June 28 First Quarter Warnings Tuesday, June 28 – Tuesday, July 5 Midterm Exams & Warnings Tuesday, July 12 - Monday, July 18 Course Withdrawal Deadline Friday, July 29 Third Quarter Warnings Tuesday, July 19 – Tuesday, July 26 Final Exams Tuesday, August 16 - Monday, August 22 Classes End Monday, August 22 Official Addendum to the 2010 – 2011 Catalogue

DepartmentGoals

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The Foundation Program provides core studies for life-longlearning and professional practices in the visual arts byteaching fundamental skills that enable students to becomeadept, well-informed makers. Integrating core visualstudies with Liberal Arts curricula enhances students’ability to construct meaning using the formal elements ofart and design.Students in the Foundation Department will:

Foundation

• Acquire Fundamental Skills, whichinclude mindful making and improving ofwork by the manipulation of art anddesign media.

• Develop Thinking Skills, refining theirability to distinguish between rational,intuitive, and critical thinking processes.

• Discern Visual Quality throughidentifying visual strengths andweaknesses to promote aestheticresolution and clarity of intention.

• Develop Professionalism throughstrategies for success such asattentiveness, time management skills,and the ability to commit to a personalvision in the endeavor of art making.

• Value Inventiveness by using problemdefining processes to complementproblem solving skills.

• Apply a Spirit of Investigation, utilizingvisual and idea-oriented research, thespirit of play, and delay of closure.

• Engage the Community as a Resource,by access to the larger metropolitancommunity as a creative and learningresource.

• Enter their Major Program with anintegrated understanding of technical andconceptual aspects transferable acrossa wide array of art and designpractices.

DegreeRequirements

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Foundation

Descriptions forcourses listed in greyboxes are located inthe Liberal Arts and

Sciences section.

Freshman Year Fall Spring

FNDT110/111 Form and Space I/II 2.0 2.0

*FNDT115 Principles of Design 2.0 —–

ILMS100 Connections through Color and Design —– 2.0

FNDT145 Studio Elective —– 1.0

FNDT180 Life Drawing I 3.0 —–

**FNDT181 -or- Life Drawing II —– 2.0

***FNDT170 Creative Practices and Responses

FNDT190/191 Drawing and Composition I/II 2.0 2.0

AHCS120 Introduction to Visual Culture 3.0 —–

AHCS121 Modern Art History —– 3.0

ENGL104 Critical Analysis and Semiotics 2.0 —–

ENGL106 Composition and Critical Thought —– 3.0

SSCI130 Cultural Studies 2.0 —–

Total Credits per Semester 16.0 15.0

* Students may elect to take the photography option Principles of Design section.

** Both Life Drawing I and Life Drawing II are recommended for Toy Design, Fashion Design, and Digital Media majors.

*** Creative Practices and Responses is recommended for Product Design majors.

CourseDescriptions

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Form and Space IFNDT110 2 creditsFocused compositional study of organizingprinciples in form provides a basis forunderstanding the three-dimensional world. Line,plane, and volume are studied both in the contextof primary forms and more complex compositionsin the round. Sequenced instruction fostersmastery of compositional fundamentals involvingthe invention and construction of forms in spaceusing simple hand tools and readily availableform-making materials.

Form and Space IIFNDT 111 2 creditsStudents transfer acquired skills to the furtherstudy of three-dimensional composition throughsequenced instruction and problem finding. Thebasis for design expands to encompass areas ofstudy such as the construction of meaning, thehuman body, and architectural scale/space.Aspects of media, process, and source informationexpand as students, individually andcollaboratively, engage more complex issues ofform and space.Prerequisite: FNDT110 Form and Space

Principles of DesignFNDT 115 2 creditsThis course is a sequenced investigation ofvarious organizing principles using traditional andcontemporary media (i.e., photography, photo-copying, and computer graphics). Students learnfundamentals of value manipulation asdeterminants of visual order. Elements of visualliteracy provide a basis for the study ofcompositional fundamentals, including focalpoint(s), directional elements, and visual weight.

Creative Practices and ResponsesFNDT 170 2 credits A second-semester Foundation course focused on studying, researching, and exploring practices of creativity that bridge art/design disciplines. Students are exposed to a diverse range of concepts,materials, and methods for thinking and workingcreatively. In-class activities promote the documen-tation of individual creative processes and thesynthesis of intuitive, culturally constructed, andpersonal impulses into inventive visual responses. Recommended for students planning to selectProduct Design as their major.

Life Drawing IFNDT 180 3 creditsSequenced instruction provides rigorous trainingin the use of gesture, anatomy, and structuralfigure drafting. Drawing the human figure fromthe inside out fosters an understanding of complexvisual relationships. Upon completion of thecourse, students are able to analyze the humanform and to view it as a complex perceptualmodel for the larger realm of visual experience.

Life Drawing IIFNDT 181 2 credits Structural drawing and perceptual skills areexpanded through study of the figure's relation toenvironment, life-scale, movement, and draping.Students discover individual sensibilities of markmaking and aspects of personal vision, through avariety of traditional and experimental drawingmedia and techniques.Prerequisite: FNDT180 Life Drawing

Drawing and Composition I FNDT 190 2 credits Drawing skills are acquired through sequencedinstruction and problem-solving with traditionaland contemporary media. Study of pictorialrepresentation includes observational skillbuilding, spatial analysis, and pictorialorganization, providing a basis for draftsmanshipand composition. The course proceeds analyticallythrough line, plane, and volume with emphasis ondynamics of light and the perception of tone.

Drawing and Composition II FNDT 191 2 credits Observation, analysis, and compositionalorganization are furthered by the addition of color, problem finding, complexity of idea, and the introduction of Adobe Illustrator as acompositional tool. Historical referencing, modernand contemporary notions of time/space, andexploration of more varied drawing media fosterstudents' realization of aspects of personal vision.Prerequisite: FNDT190 Drawing and Composition

Foundation

CourseDescriptions

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Foundation

Connections through Color and DesignILMS 100 2 creditsA second-semester Integrated Learning studiocourse introducing Foundation students tocontextually-based problem solving usingfundamentals of color and design. Students learnMunsell color theory, practical aspects of colormixing such as value, hue, and chroma, as well ascomputer color application using AdobePhotoshop. Students apply these skills in solvingproblems that engage the larger community, trans-disciplinary practice, research,and collaboration.Lab fee: $35. Photo lab fee (section P only): $30.

Electives

Communication Arts: Design SolutionsFNDT 145 1 creditGraphic designers and advertising designers havefun with creative ideas in visual communicationsthat use image and type, form and color, functionand emotion to create clear, engaging and enticingvisual messages. In a dynamic process studentslearn to be open, responsive and flexible in alively studio setting. A design process that isoriginal, creative and satisfying for a youngdesigner creates successful solutions that couldanswer real problems. Taught by CommunicationArts faculty.

Communication Arts: IllustrationFNDT 145 1 creditFigure illustrators explore visual language andnarrative skills through drawing, sketching,sequencing, researching, and observation forapplications in entertainment illustration,animation, character development, conceptillustration, publication and editorial illustration,advertising, and product illustration. Skillsacquired in Foundation year are applied tofinding, processing, and executing solutions thatmay result in such visual products as comicsequences, characters and short animations, andeditorial illustrations. Taught by CommunicationArts faculty.

Communication Arts: PrintmakingFNDT 145 1 creditThis studio course is an introduction to thefundamentals of printmaking, incorporatingdrawing, painting, and collage with methodsof monotype, collograph, and drypoint engraving.Through technique and experimental

Digital Media: Motion Graphics EssentialsFNDT 145 1 creditLife is movement. Art is life. This course takes artand design to a different level by addingmovement. An artist/designer is both a storytellerand a problem solver. In this course, studentsrefine skills through the use of today's mostsophisticated, yet easy to learn tools in a coursetruly supportive of experimentation and risk-taking. Explore compositing through the use ofsoftware such as After Effects, Flash, Photoshop,Illustrator, and Final Cut Pro. Use digital video,photography, and hand-made artwork for tellingstories and creating moving designs. Taught byDigital Media faculty.

Architecture/Landscape/Interiors:Designing SpaceFNDT 145 1 creditDesign the spaces where we live, work, and play.This course will introduce the full scope of spatialdesign fields: architecture (buildings), landscape(spaces between buildings), and interiors (spaceswithin buildings. Students will visit significantarchitecture, landscapes, and interiors in andaround Los Angeles while designing their ownbuilding and landscape proposal for an actual site.Taught by Architecture/Landscape/Interiorsfaculty.

Fashion Design: Model DrawingFNDT 145 1 creditStudents draw from live male and female modelsto develop an awareness of the proportions andmovement of the elongated fashion figure whilemaintaining correct anatomical structure. Allsections taught by Fashion Design faculty..

Electives: Note:Second semester

studio electiveofferings may

change.Seedepartment for

course descriptions.

CourseDescriptions

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Fine Arts: Painting ExplorationsFNDT 145 1 creditA basic painting course introducing a variety ofpainting methods and materials, including colormixing, paletting, and paint application in oiland/or acrylic. Emphasis will be placed on use ofopacity and transparency in painting, as well as ona variety of modes with special considerationgiven to figurative and non-objective work.Instruction will blend technical facility with thecreative process within a studio environmentsupportive of risk-taking and the entertainment ofpossibilities. Traditional and contemporary modesof pictorial representation and abstraction will beexplored. Taught by Fine Arts faculty.

Fine Arts: Photography/SculptureFNDT 145 1 credit There has been a longstanding relationshipbetween sculpture and photography. This practice-based class examines photography’s connectionsto sculpture by establishing sculptural elements inrelation to the photographic process. Throughexample studies and projects, students willexamine how sculptural activities can applybefore, during, and after the photographic process,and how such combinations affect perceptions of forms and ideas. Instruction will blendtechnical procedures with a process of self-directed investigation within a studioenvironment supportive of creative thinking andthe entertainment of possibilities. Taught by Fine Arts faculty. Photo Lab fee: $30.

Product Design: Product Design WorkshopFNDT 145 1 creditAn introductory course focused on the process ofdesigning consumer products for a variety ofconsumer markets. Students engage in marketresearch, creative sessions to generate productideas that fit a consumer or market, and developwhat constitutes good product design by exploringthe integration of aesthetics, functionality, andtechnology into their product design throughconcept sketches. Students will developappreciation of exemplary mainstream productdesign through product styling, projects, andcritiques. Taught by Interactive Product Designfaculty.

Toy Design: Introduction to Toy DesignFNDT 145 1 credit An idea-driven workshop that introduces studentsto Adobe Photoshop as a primary tool for themanipulation of drawn and photographic images.Instruction will focus on Photoshop as a means ofenhancing drawing skills in support of designactivity and concept presentation. Students willlearn specific Photoshop skills in preparation forfurther study within the Toy Design major. Taughtby Toy Design Faculty.

Paris TripFNDT 145 1 creditStudents travel to Paris for a period of 10 days inMarch for a once-in-a-lifetime opportunity to visitmuseums, historic sites, and the great Europeancity with Foundation faculty for on-site lecturesand focused field study. Please note: Otis Collegeof Art and Design reserves the right to cancelscheduled foreign travel based on internationaltravel conditions and/or safety concerns.Travel Gap Insurance Fee: $25.

Foundation

DepartmentFaculty

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Foundation

Katie PhillipsChairMFA (Painting) Claremont Graduate Univ.; BFA(Fine Arts) Univ. of Illinois, Urbana. Nationallyexhibited realist painter. Exhibitions include theArt Museum of South Texas; Frye Museum,Seattle, WA; Spokane Art Museum; J.B. SpeedMuseum, Louisville, KY. Works have beenreviewed in Art News. Collection of the J.B.Speed Art Museum. Published in Images andIssues and Leaves of Many Seasons (PlenumPress).

Randall LavenderAssociate Chair, ProfessorMFA (Sculpture) Claremont Graduate Univ., BA(Art) CSU Fullerton. Nationally andinternationally exhibited realist painter.Exhibitions include the Frye Museum of Art,Seattle, WA; Museo Calouste Gulbenkain, Lisbon,Portugal. Collections of Cedars Sinai Hospital andthe Frederick R. Weisman Foundation. Multipleworks featured in Zoo, Animals in Art. Publishedin F.A.T.E. in Review and Journal of AestheticEducation.

Maura BendettSenior LecturerMFA, BA (Painting) UCLA. Nationally exhibitedpainter. Exhibitions at Los Angeles CountyMuseum of Art; Kemper Museum ofContemporary Art, Kansas; Pomona CollegeMuseum of Art; San Jose Museum of Art; COCA,Seattle; ARC, Vienna, Austria. RecipientWESTAF NEA in Visual Arts grant. Reviewed inArt in America and World Art.

Beverly BledsoeAssociate ProfessorMFA (Printmaking), Cranbrook, BFA(Printmaking and Sculpture), Cleveland Instituteof Art. Nationally exhibited painter. Works shownat the Womens' Center, Los Angeles; Les Yeux duMonde, Charlottesville, VA; Grunewald ArtCenter, UCLA. Recipient United States CulturalGrant, American Center, Helsinki, Finland.Visiting Artist, Printtus, Helsinki, Finland.

Jason BurtonAssistant ProfessorBFA Otis (Environmental Design), Studied atPalomar College (Illustration and GraphicDesign), SCI-Arc. Architectural designer, sculptor.Professional activities include numerousdistinguished interior/architectural design projects.Published in Architectural Digest, TheInternational Design Magazine, and Form-ZMagazine.

Cole CaseLecturerBFA Art Center (Fine Art), BA (EnglishLiterature) Stanford University. Painter andIllustrator. Exhibitions include Howard HouseContemporary Art, Seattle, WA; Luckman Gallery,CSU Los Angeles; Arizona St. Univ. Art Gallery,Tempe, AZ. Works have been featured/reviewed inThe Stranger and Artweek.

Jacci Den HartogProfessorMFA (Sculpture) Claremont Graduate Univ.; BA(Art) Linfield Coll.; studied at Centro CulturalCostarricesne Norteamericano, San Jose, CostaRica. Nationally and internationally exhibitedsculptor. Exhibitions include Nantes Museum,Nantes, France; San Francisco Art Institute;Kansas City Art Institute. Commissioned publicart at Angel’s Knoll, Los Angeles. Reviewed inArtforum, Flash Art, and Art in America.

Nicole DuetLecturerMFA (Drawing and Painting) CSU Long Beach,CSU Northridge. Portraitist and painter whosework has been included in exhibitions at LongBeach Museum of Art, Mount Saint Mary’sCollege, and J. Cacciola Galleries, New York.

DepartmentFaculty

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Bill EckertProfessorMFA, BA (Art), San Diego State Univ. Nationallyexhibited realist painter and muralist. Worksshown at San Diego Fine Arts Museum; LosAngeles Municipal Art Gallery; 20 Warren Street,N.Y. Professional activities include consulting forRupert Murdoch, Marvin Davis, Ted Fields, andDick Clark, and managing projects for Intertec, alighting research and development company.

Barry FahrAssociate ProfessorMFA Otis, BFA Univ. of Hartford. Photorealistpainter and light installation artist. Worksexhibited at Los Angeles Municipal Art Gallery,Jan Baum Gallery, Tortue Gallery. Professionalactivities include backdrop painting forDreamWorks; Lighting Director for Wall ofVoodoo, I.R.S. Records; Museum ofContemporary Art, Los Angeles. Published inArtweek.

Kristen FosterLecturerMFA (Art) Otis; BA (Art) California StateUniversity, Northridge. Fine artist/sculptor,graphic designer. Solo exhibition at Otis BolskiGallery. Selected group exhibitions include USCHelen Lindhurst Fine Arts Gallery and USC RoskiMFA Gallery; Supersonic, LA Art Fair.

Gary GerathsProfessorMFA (Drawing and Painting) Claremont GraduateUniv., BFA (Drawing and Painting) CSU LongBeach. Figurative draughtsman, representationalpainter, and courtroom artist. Exhibitions includeWestern Front Gallery, Vancouver, BC; and FryeMuseum of Art, Seattle, WA. Professionalactivities include teaching/consulting for Disney,Mattel, and Sony. Author/Illustrator of DrawingAnimals (Gainsway Press).

D.J. HallSenior LecturerBFA U.S.C. Extensive national and internationalexhibition record. Work has been included innumerous exhibitions nationally andinternationally, as well as important publicationssuch as Contemporary Art in Southern California,and Masquerade. Work has also been featured in numerous periodicals and catalogues, as well asa feature film directed by James L. Brooks.

Marjan HormoziAdjunct Associate ProfessorMFA Univ. Coll. (Slade School), London; BFAUniv. North London; Studied at Chelsea School ofArt, London. Distinguished figurative draftsman,painter. Exhibitions at Factory Place Gallery, LosAngeles; Newcastle Polytechnic Gallery,Newcastle Up-On-Tyne, G.B. Recipient of Artistin Residence Award, North East LondonPolytechnic and the Cheltenham Fellowship,Cheltenham College of Art.

Linda HudsonAssociate ProfessorMFA Art Center; BA CSU Northridge. Artist anddesigner. Numerous design consulting projectsinclude space planning, lighting, furniture, andfixture design for commercial and residentialinteriors. Solo exhibitions at University ArtMuseum, UC Berkeley; Santa Monica Museumof Art. Group exhibitions at Whitney EquitableCenter, New York, Nevada Institute ofContemporary Art, Pittsburgh Center for the Arts.Reviewed in Art News, New York Times, Arts, andVytvarne Umenf: The Magazine for ContemporaryArt.

Siri KaurSenior LecturerMFA (Photography) Cal Arts, BA and MA SmithColl. Work has been featured in exhibitionsnationally and internationally. Her compellingportraits have been reviewed in CMYK, TheWashington Post, The Portland Mercury andPhoto District News.

Foundation

DepartmentFaculty

15

Foundation

Patricia KovicAssistant ProfessorBFA SUNY Buffalo. Graphic designer andprincipal at Studio Morris. Offices in L.A. andN.Y. for Fortune 500 companies. Design awardsfrom the AIGA, N.Y. Art Directors’ Club,Communication Arts magazine andCommunication Graphics.

Joyce LightbodyAdjunct Associate ProfessorBFA UC Santa Barbara, studied at KalamazooCollege, Univ. of R.I. Nationally andinternationally exhibited/featured artist andcomposer. Solo exhibitions include ACME, LosAngeles; Los Angeles County Museum of Art.Group exhibitions include The San Jose Museumof Art; The Art Museum of South Texas.Reviewed in Art in America, Artweek, and VisionsArt Quarterly.

Cathy LightfootAdjunct Associate ProfessorMFA (Painting) Cal Arts, BFA (Painting) TheCooper Union. Distinguished painter. Exhibited atShoshana Wayne, Sherry Frumkin and RosamundFelsen, Santa Monica. Rosamund Felsun Gallery;Los Angeles Contemporary Exhibitions.Collection of Peter and Eileen Norton. MuseumPreparator, Wight Art Gallery, UCLA.

Gregory MartinLecturer MFA (Painting) Claremont Graduate University,BFA (Drawing & Painting/Illustration) CSU LongBeach. Received Ahmanson Foundation GraduateFellowship. Regional exhibition record. Worksincluded in the public collections of CreativeArtists’ Agency, 3M Corporation, U.S. Air ForcePentagon.

Helena MinLecturerMA (Art) CSU Long Beach, BFA (Fine Arts) Otis.Nationally and internationally exhibited abstractpainter. Works shown at the Seoul Art Center,Seoul, Korea; Taipei Fine Arts Museum, Taipei,Taiwan; San Diego Museum of Art; Pacific AsiaMuseum, Pasadena. Reviewed in The Los AngelesTimes, The Korean News, AsianWeek, and AsianArt News.

Christian MoungerAssociate ProfessorMFA (Sculpture) Claremont Graduate Univ., BFA(Photography) Memphis College of Art, BA(English Literature) Rhodes Coll. Nationally andinternationally exhibited digital and photographicartist. Exhibitions include Abel Joseph Gallery,Brussels, Belgium; Lidovy Dum, Prague,Czechoslovakia; Croatia/Los Angeles Exchange,Dubrovnik, Croatia. Exhibition designer, theHuntington Library Art Collections and BotanicalGardens.

Patrick NickellAdjunct ProfessorMFA Claremont Graduate Univ., BA LinfieldColl. Nationally and internationally exhibitedsculptor. Exhibited at Kohn Turner Gallery; SueSpaid Fine Art; Gallery 2211, Los Angeles;Laguna Beach Museum of Art; Patricia FaureGallery; Galleri Markant Langelo, TheNetherlands; Galleri Tommy Lund, Denmark.Reviewed in Art in America, Artweek, Art Press,Art Issues, and Visions magazine.

Kiki SammarcelliAdjunct Associate ProfessorMFA, BFA, Otis. Nationally and internationallyexhibited painter. Exhibitions include Los AngelesMunicipal Art Gallery; Oakland Museum; Galeriade Arte, San Paolo, Brazil; Antichi Arsenali dellaReupplica, Amalfi, Italy. Other professionalactivities include costume design and art direction.Reviewed in Il Mattino, (Naples, Italy) andImages & Issues magazine.

Michael SchrierProfessorMFA (Painting and Ceramics), BFA (Fine Arts)Otis; Certificate Cleveland Institute of Art. Artistand designer. Produces tapestries for large-scalearchitectural environments as well as designs forapparel through his studio, Syracuse Tapestries.Professional activities include extensiveeducational administrative experience as well asnational exhibitions.

DepartmentFaculty

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Rob SpruijtAdjunct Associate ProfessorPh.D. (Psychology), MS Univ. of Amsterdam;BFA (Fine Arts) Otis. Realist painter. In additionto his extensive academic articles and publicationson human psychology and perception, Spruijt is atechnical expert on Dutch still life painting andproduces contemporary still life paintings in oil onpanel. Works exhibited regionally.

Jim StarrettProfessorStudied (Industrial Design and Painting) PrattInst., N. C. St. Univ., UCLA Extension, OtisContinuing Education. Nationally andinternationally exhibited painter/sculptor. Showsinclude the Whitney Museum; North CarolinaMuseum of Art; Southeastern Center forContemporary Art, Winston-Salem, NC; GalleryAnton Meier, Geneva, Switzerland. Recipient ofNEA Visual Arts Grant. Public collections of theArnot Museum, Virginia Museum, North CarolinaMuseum.

Christopher WarnerAssociate ProfessorMFA Univ. of Colorado, Boulder; BA GonzagaUniv., Spokane, WA. Nationally exhibited painter.Exhibitions include Koplin Gallery; HendersonMuseum, Univ. of Colorado, Boulder; FredHoffman Fine Art; Kerckhoff Art Gallery, UCLA.Reviewed in Artweek, Visual Arts magazine.Recipient of a WESTAF/NEA RegionalFellowship and NEA Artist in Residence Award.

Rush WhiteProfessorMFA (Painting & Printmaking), BA (Art) UCLA;studied painting and sculpture at the SkowheganSchool. Nationally and internationally exhibitedpainter. Works exhibited at Los Angeles MunicipalArt Gallery; Ruth Bachofner Gallery; Cal ArtsGallery; Art Gallery, Minneapolis College of Art& Design; The Alternative Museum and Franklin Furnace, NY; D'Art Maria Luisa Gallery,Genoa, Italy.

Foundation

DepartmentGoals

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The Artists, Community and Teaching (ACT) Programprepares students for a range of professional practices ascommunity-based artists/designers and educators in diversecommunities and contexts. The ACT Program offers twotracks: Teacher Credential Preparation and Community ArtsEngagement.

The Artists, Community andTeaching (ACT) Program

Students enrolled in either track of the ACT Program will...

• Develop a meaningful connectionbetween their studio art/design practiceand an engagement with their community.

• Demonstrate an understanding of thepractices and theories of arts education andcommunity engagement.

• Gain an understanding of careeropportunities for community-based andteaching artists/designers.

• Gain professional practice trainingthrough off-campus teaching andcommunity arts internships.

Students enrolled in the Teacher CredentialPreparation track will also:

• Successfully complete the Single SubjectMatter in Art requirements needed topursue the Teaching Credential offered bythe State of California.

CourseDescriptions

19

ACT Program

The ACT Program allows eligible students tomajor in one area and concentrate in eitherTeacher Credential Preparation or CommunityArts Engagement. Students choose ACTcoursework as part of elective options based onconsultation with their Department Chairs orfaculty advisors and the ACT Coordinator.Students in the ACT Program may take between14 and 18 credits depending on the department inwhich they are enrolled and the ACTconcentration of their choice.

The ACT Program consists oftwo tracks:

Teacher Credential PreparationThe Teacher Credential Preparation track is forstudents who wish to pursue the California SingleSubject in Art Teaching Credential needed to teachin California Kindergarten -12th grade publicschools. As a California Commission on TeacherCredentialing approved Subject Matter in ArtProgram, the combined coursework of this trackwith the Fine Arts BFA requirements satisfy theCA Subject Matter in Art requirements, and upongraduation, students with a minimum cumulativeGPA of 2.5 will qualify for a CSET (CaliforniaSubject Exam for Teachers) waiver. A fifth year ofstudy at another institution is required to completethe remaining CA Single Subject TeachingCredential requirements. This track is open only toFine Arts majors and requires 18 credits of ACTcoursework in place of LAS and Studio electives.

Community Arts EngagementThe Community Arts Engagement track is forstudents who wish to work in art/design educationand community based art/design practices in areasoutside of K-12 public schools, such as museumeducation departments, community arts centers,correctional facilities, therapeutic arts programs,public art, design companies that focus oneducational materials, and the use of design as anagent for positive social change. This track is opento all students who have 14-18 LAS and Studioelective credits available in their majors.

Participating DepartmentsStudents in Architecture/Landscape/Interiors,Communication Arts, Digital Media, Fine Arts andProduct Design are eligible to enroll in theCommunity Arts Engagement track. Because ofthe California Commission on TeacherCredentialing requirements, only Fine Arts majorsare currently eligible to enroll in the TeacherCredential Preparation track. Because of thecurricular requirements of the Toy Design andFashion Design programs, students in thesemajors are currently not able to enroll in eithertrack of the ACT Program.

Eligibility and Enrollment RequirementsUnlike the Interdisciplinary Concentration, thereare no GPA requirements for the ACT Program,however students must be in good standing andhave fulfilled curricular requirements of thefoundation year in order to be eligible. It isrecommended that students who are consideringenrollment in the ACT Program elect to take theSophomore English and the Integrated Learningrequirements in the fall semester in order to beginthe ACT requirements in the spring semester oftheir sophomore year.

The Application ProcessEligible students complete the ACT applicationprocess between their second semester Foundationyear and first semester Sophomore year.Application forms are available from the ACTCoordinator’s office or the ACT home page on the Otis website. Approval for participation in the ACT Program rests with the DepartmentChair (of your major), the LAS Advisor and the ACT Coordinator.

Transfer StudentsTransfer students who apply for and are acceptedinto the ACT Concentration upon entering theCollege need to fulfill degree programrequirements through an appropriate combinationof transfer courses and courses completed at Otis.

Interested students should see the ACTCoordinator for more details.

CourseDescriptions

20

In addition to major degree requirements, ACTstudents fulfill both studio and LAS electives withthe following required courses:

Teacher Credential Preparation Required Courses:PRNT267 or PRNT268 Printmaking I or Introduction toScreenprinting (3 credits)

SSCI212 Teaching for Learning I (3 credits)

MEDA211 Introduction to Video (2 credits)

SCNG236 Ceramics (2 credits)

ACTS336 Teaching Internship (2 credits)

AHCS312 Aesthetics and Cultural Values (3 credits)

LIBS412 Teaching for Learning II (3 credits)

Community Arts Engagement Required Courses:LIBS245 Community Arts in LA (2 credits)

SSCI212 Teaching for Learning I (3 credits)

ACTS335 Community Arts Internship (2 credits)

*ACTS300/400 ACT Special Topics (2-6 credits)

**ILMS300 Integrated Learning Studio (2 credits)

LIBS412 Teaching for Learning II (3 credits)

* exact credit count depends on major** a limited choice of IL Junior Studios will counttowards the ACT Concentration, as determined by the IL Director and the ACT Coordinator each semester.

Community Arts Internship ACTS335 2 credits This course places qualified upper level studentswho are interested in art and communityengagement, in a choice of structured internshippositions in public art and art education programsat private schools, museums, galleries, non-profitcultural organizations or with community-basedindividual artists and collectives. The internshipprovides an opportunity to expand one'sunderstanding of education theory, art practice andcommunity engagement, and will include sharedanalysis and debriefings of reflective fieldannotations through electronic journals. Thisinternship is also a chance to establish contacts andbegin networking with potential mentors workingin community based art/design practices throughoutLos Angeles. Required for students in theCommunity Arts Engagement track of the ACTprogram. Can be taken as an elective for all otherstudents. (6 hours a week in class or in the field)

Teaching Internship/Early Field Experience ACTS336 2 credits This course places qualified students who areinterested in art and education, in a choice ofstructured internship positions in kindergartenthrough twelfth grade (K – 12) public schoolclasses. Students observe and assist teachers with a“Single Subject Art Credential” in their classroomsand have significant interactions with students fromdiverse populations, as required by the Commissionon Teacher Credentialing in the state of California.The internship provides an opportunity to expandone’s understanding of education theory inconjunction with the reality of art curricula in thestudio / classroom. Weekly assignments includeshared analysis and debriefings of reflective fieldannotations through electronic journals, a finalReflective Essay, and Oral Presentation withvisuals. This internship is also a chance to establishcontacts and begin networking with potentialmentors in the broader Los Angeles public schoolsystems. Required for students in the TeacherCredential Preparation track of the ACT program.Can be taken as an elective for all other students. (6hours a week in class or in the field)

ACT Special TopicsACTS300/400 2 creditsACT Special Topics are a series of studio basedcourses that focus on conceptual, aesthetic andinterdisciplinary approaches to art and design

ACT Program

21

ACT Program

education and community engagement. Topics varyeach semester. Fulfills requirements of ACT:Community Arts Engagement concentration. Can betaken as an elective for Juniors and Seniors of allmajors.

Examples of planned ACTS300/400 courses:

Artists & Designers in MuseumsFrom Institutional Critique to Relational Aesthetics,students will look at the ways artists and designerswork with Museum Education departments todevelop and present community based projects. Thisclass will be partnered with a local museum(LACMA, MOCA, Getty, or SMMoA) and willwork as a group on a community based project eithersited in the museum with community input, or sitedin the community with the museum’s support.

Art TherapyThis studio course will give students an introductionto visual art and performance art techniques used intherapeutic art programs. History and theories of artand performance therapy will be covered throughdemonstrations, readings, guest lectures and fieldtrips. Students will also produce self-directed workwith these techniques in mind as well as guide eachother through therapeutic art practices.

Documentary as Social PracticeWhat does it mean to tell someone else’s story?What does it mean to facilitate others in telling theirown stories? How can collaboration and educationempower self-representation? Documentary practicessuch as cinema verite, oral histories, photojournalism, audio archives, reality TV, webcams andYouTube will be discussed from historical andtheoretical perspectives. Students will producecollaborative, multi-media projects (audio, video,web, text, image, etc) using the documentary form,with an emphasis on process and social engagement.

Facilitating and Directing Large ScaleProjects In this studio course students will have the chance todevelop large-scale projects that engage diverseaudiences in a topic of their choice. They will workas facilitators, art directors or project managers tolead a group of peers/classmates in theimplementation and production of their individualprojects. The first half of the semester will focus onindividual project development, while the second

half of the semester will focus on production.Contemporary practices of art direction, relationalaesthetics, and community based art and designpractices will be discussed as models for producingwork that is essentially bigger than what anyindividual can produce on their own. Students musthave the desire to work outside of the isolation oftheir studios and may already have a large-scaleproject in mind before starting this course.

Learning and Engaging in the Digital AgeThis studio course looks at web 2.0 technologies asrelated to education and community engagement.Topics covered include interactive social media, opensource, creative commons, peer to peer learning,online courses and the use of blogs, wikis andwebsites to facilitate learning and meaningfulengagement in a global society. Students willdevelop interactive projects and/or lesson plans thatreside on the internet and other multimedia formats.

Public PracticesStudents will study history and theories of publicart/design practices, tour public art/design in LA, andlearn about the public art/design selection processwhile developing projects and application materialsfor Request for Qualifications/Request for Proposals(RFQ/RFP).

Innovative PedagogyIn this three-part course, visiting educators will eachshare their innovative teaching approaches and guidestudents through experimenting and developing theirown. Topics to be addressed may include the art offacilitating workshops and social interactions,incorporating movement based learning into art anddesign education, approaches to interdisciplinaryteam teaching, education reform, integrating learningtechnology into the classroom and arts integrationacross math, science and humanities.

For SCNG and MEDA Course Descriptions seeFine Arts.For PRNT Course Descriptions seeCommunication Arts.For AHCS, SSCI and LIBS Course Descriptionssee Liberal Arts and Sciences.

CourseDescriptions

DepartmentFaculty

22

Michele JaquisACT Coordinator, Assistant ProfessorMFA (sculpture) RISD, BFA (sculpture,experimental studio, psychology) Hartford ArtSchool/Univ. of Hartford . Interdisciplinary Artistand Educator. Exhibitions and screenings includeSoundWalk, Long Beach, CA; ReelHeARTInternational Film Festival, Toronto, Canada;Victoria Independent Film Festival, Sebastapol,Australia; LA Freewaves Festival of ExperimentalMedia Arts Hollywood, CA; University ofMissouri Gallery of Art; South La Brea Gallery,Inglewood, CA; Gallery 825, Los Angeles, CA.Co-founder of Rise Industries: InterdisciplinaryProjects. Director and Editor, "RECOVEREDJourneys Through the Autism Spectrum and Back"– Best Documentary, The Director’s Chair FilmFestival, Staten Island, NY.www.riseindustries.org

S.A. BachmanSenior LecturerMFA Tyler School of Art, BFA Ariz. St. Univ.Public artist and co-founder of THINK AGIN, anartist-activist collaborative that expects somethingpolitical from art and their work challengesindifference via interventions, billboards,postcards, and public projections. Exhibited atMuseu d´Art Contemporani de Barcelona, Spain;Track16 Gallery, Santa Monica, CA; Exit Art,New York, NY; Alternative Museum, New York,NY; Rose Art Museum, Waltham, MA; and GreyArt Gallery, New York, NY. Grants include NEA,Massachusetts Cultural Council, LEF Foundation,New England Foundation for the Arts. Publishedin Artforum, Reframings: New American FeministPhotographies, Graphic Agitation 2, Peace Signs:The Anti-War Movement Illustrated and amonograph entitled, A Brief History of Outrage.

Lorraine Cleary DaleLecturerMFA (Painting & Installation) ClaremontGraduate University; BFA (Intermedia studies,Drawing & Painting) CSU, Long Beach. Directorof Professional Development, Armory Center forthe Arts; Consultant/Trainer, Los Angeles CountyArts Commission. Several public art commissions,exhibited at the Armory Center for the Arts,Pasadena City College Art Gallery, Kohn TurnerGallery, Andrew Shire Gallery, Jones Center forContemporary Art, The Buddy Holly Center,Peppers Art Gallery at University of Redlands andShore Art Gallery. Active in the College ArtAssociation.

Jeanne WilletteAssociate ProfessorPhD (Art History) UC Santa Barbara; MA (ArtHistory) CSU, Long Beach; BA (Fine Arts) CalState Univ. L.A. Specializes in modern andcontemporary art, and critical theory with aparticular emphasis on photography. Extensivepublication record in professional journals,exhibition catalogues, and the website:www.arthistoryunstuffed.com. President of the ArtHistorians of Southern California.

ACT Program

DepartmentGoals

24

The Architecture/Landscape/Interiors (A/L/I) Departmentprepares diverse students for imaginative practices whoseinterventions and discourse reflect the complexity andchallenges of contemporary culture and technology. Students inthe Architecture/Landscape/Interiors Department will acquire:

Architecture/Landscape/Interiors

• Awareness of design history, designtheory and its historical applications; andenvironmental, cultural, and social issuesin relation to contemporary design.

• Competency in utilizing design theoryand design methods/processes in designsolutions.

• Competency in spatial organization/planning and three-dimensional spatialdevelopment.

• Competency in fundamental structuralconsiderations, construction systems andmaterials in relation to schematic design,and the selection and application of non-structural materials.

• Understanding of the designer'sresponsibility in the areas of health,safety and welfare of the public throughgoverning laws and regulations.

• Competency in egress requirements andutilizing anthropometrical considerationsin design solutions.

• Competency in visual presentation andanalysis through diagrams, orthographicdrawings (plans, sections, elevations,paraline drawings), renderings,presentation boards, and models—bothphysical and digital.

• Competency in the graphic conventionsof construction documents, i.e. "workingdrawings."

• Competency in the critical evaluation ofdesign projects and their representation.

• Competency in verbal and writtencommunication.

• Awareness of human effects upon anduse of earth’s geology and climate;competency in design strategies forsustainable environments.

DegreeRequirements

25



Sciences section.

Sophomore Year Fall Spring

ARLI250/252 Studio I/II 4.0 4.0

ARLI260/261 Technologies + Ecologies I/II 3.0 3.0

ARLI270 Digital Media I 2.0 —–

ARLI271/272 Digital Media II-A, II-B 2.0 2.0

CRIT 205/206 History + Theory I/II 3.0 3.0

MATH 246 Applied Trigonometry 3.0 —–

ILML 200 Integrated Learning Lecture —– 3.0

ENGL 202 Sophomore English —– 3.0


Junior Year Fall Spring

ARLI350/353 Studio III/IV 5.0 5.0

ARLI360 Technologies + Ecologies III 3.0 —–

ARLI363 Planning to Plan 2.0 —–

ARLI370 Analysis and Diagramming —– 2.0

Studio Electives —– 2.0

ILMS300* Integrated Learning Studio —– 2.0

CRIT 305/306 History + Theory III/IV 3.0 2.0

NSCI307* Natural Science 3.0 —–

*Advanced Topics in English or —– 3.0Liberal Studies Elective

*This course may be taken in either fall or spring semester.


Senior Year Fall Spring

ARLI454/455 Studio V/VI 5.0 5.0

ARLI362 Lighting Fundamentals 2.0 —–

ARLI460 Detail Development 2.0 —–

ARLI462 Constructions —– 4.0

ARLI465 Presentation Techniques —– 2.0

Studio Electives 2.0

CRIT 405/406 History + Theory V/VI 2.0 2.0

*LIBS440 Senior Liberal Studies Capstone 3.0 —–

*SSCI 210 Social Science —– 3.0

*This course may be taken in either fall or spring semester.


CourseDescriptions

26

Studio I: Scale/Structure/Circulation ARLI250 4 creditsFormal design strategies, three-dimensionalmodeling in varied physical media, and thegraphic tools and language of architecture areintroduced and practiced. Field conditions,movement, and events are emphasized throughprojects progressing from abstract compositions toa minimal program of inhabitation.

Studio II: Landscape/Furniture ARLI252 4 creditsDesign theory, process, and landscape technologiesare applied to the problem of urban parks. Prerequisites: ARLI250 Studio I, ARLI260Technologies + Ecologies I.

Technologies + Ecologies I: LandscapeTechnology and Ecology ARLI260 3 creditsThe materiality, shaping, and construction oflandscape are studied through natural processes,grading, site engineering, planting and building.

Technologies + Ecologies II: InteriorTechnology ARLI261 3 credits Materials, methods, detailing, fabrication, anddocumentation of casework and other non-structural custom components of the interiorenvironment as well as contract furniture andfinishes are studied. Prerequisite: ARLI250 Studio I.

Digital Media I: CommunicatingInformation ARLI270 2 creditsSoftware programs incorporating type, color, lineand image manipulation are introduced and prac-ticed through digitally generated two-dimensionalcompositions. Methods of technique, composition,perception, and critical evaluation are introducedand practiced.

Digital Media II-A: Digital Translations ARLI271 2 creditsComputer-aided drafting (CAD) is introduced andpracticed through the production of presentationquality drawings of Studio I projects. Co-requisite: concurrent enrollment in ARLI250 Studio I.

Digital Media II-B: Digital Modeling,Rendering and Fabrication ARLI272 2 creditsDigital modeling, rendering, and fabricationtechniques are introduced and practiced throughthe material development of studio projects. Prerequisite: ARLI250 Studio I.

Studio III: Interior/Display/Exchange ARLI350 5 creditsDesign theory, process, and interior technologiesare applied to two problems: an exhibit design anda retail space (restaurant, store, health facility,etc.).Prerequisites: ARLI251 Studio II, ARLI270 DigitalMedia I, ARLI261 Technologies + Ecologies II.

Studio IV: Private/Interior Architecture ARLI 353 5 creditsDesign theory, process, building and interiortechnologies are applied to the problem of a residential program sited within an existing building. Prerequisites: ARLI350 Studio III, ARLI360 Technologies + Ecologies III.

Technologies + Ecologies III: BuildingTechnology ARLI360 3 creditsThe materials and methods of buildingconstruction are studied. Basic structuralprinciples are presented through an introduction toforces and resultants in beams and columns. Prerequisite: ARLI250 Studio I

Planning to Plan ARLI363 2 creditsSpace planning conventions, with an emphasis onaccess and circulation, are introduced, practicedand modified. Resultant effects on use andlifestyle are discussed through precedents as wellas the students' projects.Prerequisite: ARLI 250 Studio I .


CourseDescriptions

27


Lighting FundamentalsARLI362 2 creditsThe basic design and technical requirements oflighting systems are introduced with an emphasison commercial and entertainment applications. Prerequisite: ARLI250 Studio I.

Human Factors/Light and HealthARLI366 2 creditsThe effects of constructed lighting conditionsupon human activities, visual perception andhealth are introduced, researched, analyzed anddocumented.Prerequisite: ARLI250 Studio I, or equivalent

Analysis and Diagramming ARLI370 2 creditsFormal, spatial, and programmatic organizationsare presented in digitally generated diagramsthrough an analysis of canonic buildingprecedents. A dual emphasis on typology andtransformation allows the recognition of repetitionand production of variation among existingmorphologies.Prerequisite: ARLI272 Digital Media II-B.

Digital Animation and Fabrication ARLI371 2 creditsDigital animation and fabrication techniques areintroduced and practiced through the developmentof studio projects. Prerequisite: ARLI272 Digital Media II-B.

AutoCAD ARLI424 2 creditsComputer-aided drafting using AutoCAD softwareis introduced and practiced as a tool for design,presentation, and construction drawings. Thiscourse may be repeated for credit.Prerequisite: ARLI250 Studio I.

Studio V: Public/Urban Architecture ARLI454 5 creditsDesign theory, process and building technologiesare applied to the problem of a building within anurban context.Prerequisite: ARLI353 Studio IV.

Studio VI: Building/Landscape ARLI455 5 creditsDesign theory, process, building and landscapetechnologies are applied to the problem of abuilding, or buildings, integrated with landscape. Prerequisite: ARLI454 Studio V, ARLI 260 Technologies + Ecologies I.

Vertical Studio ARLI 453 4 or 5 credits Design theory, process, and appropriatetechnologies are introduced and applied to aspatial design project, or projects, equivalent toStudio II, III, IV, V or VI, as determined on thebasis of student interest. Prerequisite: permission of Department Chair. This course may be repeated for credit.

Topics Workshop ARLI458 1 credit A focused subject of student interest and/or needis introduced and practiced. This course may berepeated for credit Prerequisites vary as noted per offering. Thiscourse may be repeated for credit.

Topics Studio ARLI459 1-2 credits Design theory, process, and appropriatetechnologies are introduced and applied to afocused spatial design project. The topic varies peroffering and is determined on the basis of facultyand student interest. Prerequisites vary as noted per offering. Thiscourse may be repeated for credit.

Detail DevelopmentARLI460 2 creditsAn interior space including all finishes, lighting,furniture and integrated custom components isdesigned, detailed and documented.Prerequisite: ARLI 350 Studio III

Constructions ARLI462 4 creditsA comprehensive exhibit for the display of student work is collaboratively designed and constructed. Co-requisite: concurrent enrollment in ARLI455 Studio VI.

CourseDescriptions

28

Construction/Installation ARLI463 1 or 2 credits Students participate in the collaborativeconstruction and installation of the Architecture/ Landscape/Interiors exhibit.No homework, 3 contact hours per credit asscheduled by the Instructor. No prerequisite, open to students in anydepartment. This course may be repeated for credit.

Presentation Techniques ARLI465 2 creditsComprehensive presentations of selected studio projects are designed and produced for display inthe Architecture/Landscape/Interiors exhibit. Co-requisite: concurrent enrollment in ARLI462Constructions.

Diagramming Techniques ARLI468 2 creditsHistorical and contemporary techniques todiagram, map, and graph statistical, programmatic,temporal and external information are introducedand/or practiced, with a consideration of howthese techniques can be translated to the designprocess. Prerequisite: ARLI270 Digital Media I.

Advanced Lighting DesignARLI471 2 creditsDesign theory, process and lighting technologiesare applied to a series of lighting design problems.Prerequisites: ARLI362 Lighting Fundamentals,ARLI366 Human Factors/Light and Health

Luminaire and Control TechnologiesARLI472 2 creditsThe technology of luminaire and control systems,including solid-state systems, dimming controlsand other building management systems, areintroduced, analyzed, and applied to the designand construction of a working luminaire.Prerequisite: ARLI362 Lighting Fundamentals

Daylighting and SustainabilityARLI473 2 creditsThe effects and use of daylighting in the builtenvironment as well as sustainable design practice are introduced, researched, analyzed and documented.Prerequisite: ARLI250 Studio I, or equivalent

Lighting WorkshopARLI474 2 creditsDesign theory, process and lighting technologiesare applied to a site installation in collaborationwith a community partner.Prerequisite: ARLI471 Advanced Lighting Design

Fabrications SARLI 475 2 creditsOrthographic representation, the basic and safeoperations of wood shop tools, and methods ofwood joinery and detailing are introduced andpracticed through projects addressing the housingand display of small objects.

Fabrications MARLI 476 2 creditsThe basic and safe operations of metal shop toolsand methods of metal fabrication and detailing areintroduced and practiced. Surfaces for work, play,and/or the display of objects are designed,documented, and constructed in wood, metal, orother materials.Prerequisite: ARLI 470 Fabrications S.

Fabrications LARLI 477 2 creditsSurfaces for the support and/or display of thebody are designed, documented, and constructedin wood, metal, or other materials.Prerequisite: ARLI 471 Fabrications M. This course may be repeated for credit.

Fabrications XLARLI 478 2 creditsSite-specific and programmed body-scale systemsare designed and documented. Prerequisite: ARLI 471 Fabrications M. This course may be repeated for credit.

Portfolio Development ARLI490 2 creditsStudents are directed in the formatting anddevelopment of a professional portfolio with anemphasis on digital and photographic techniquesfor documenting both two-and three-dimensionalwork. This course may be repeated for credit.


DepartmentFaculty

29


Linda PollariChairUniv. of Wisconsin. Architect. Principal, P XS.Awards include American Architecture Award;LABC Award of Excellence; Merit Award,AIA/LA; Merit Award, AIA-Sunset Western HomeAwards; House of the Year Award. Projectpublications include Architecture and Design(teNeues), Architectural Digest, ArchiDom,Sunset, Metropolitan Home, Los Angeles Times,Architecture, Los Angeles Magazine, DesignTimes, Assemblage, and Architecture andUrbanism.

Mohamed SharifAssistant Chair, Associate ProfessorMS (Advanced Architectural Studies) and BS(Architecture), The Robert Gordon University,Aberdeen, Scotland. Associate, Koning EizenbergArchitecture. Awards include Excellence inRestaurant Design, AIA/LA; Honor Award,AIA/LA; Citation, AIA/LA; Honorable Mention,Unbuilt Architecture Awards, Boston Society ofArchitects; First Prize, Urban Design, IdeasCompetition for the Downtown Arts District, LosAngeles.

Rebecca Lyn CooperLecturerPhD candidate (Architecture), UCLA; MDes,Harvard Graduate School of Design; BArch,Boston Architectural Center. Prior workexperience includes Job Captain, T ChalmersArchitects; Head Drafter, JA Architects; OfficeManager, Gary Wolf Architects, Inc.

Matias CreimerSenior Lecturer MArch, UCLA; Diploma of Architecture, NationalUniversity of La Plata, Argentina. Architect,Principal, Matias Creimer Studio. Projectpublications in JAE, Abitare, ArtNews, Elle, Max,Clear, Black Book, Progettare and Sean Topham’sbook Move House. Work exhibited in the Maison-Object show in Paris. Winner of the HOME HouseProject competition.

Chava DanielsonSenior LecturerMArch Harvard GSD, BA UC Berkeley. Architect.Principal, DSH. Residential Architect MagazineDesign Merit Award, Preservation Award from theLos Angeles Conservancy.

Todd ErlandsonAdjunct Associate ProfessorMArch SCI-Arc, BArch Tulane Univ. Architect.Partner, (M)Arch. strategic architectures.Publications include LA Architect, Los AngelesTimes, American Spa, Interior Design, WMagazine, Contract, Interiors and Sources,Monitor Unlimited, and Arbitare.

Todd GannonSenior LecturerPhD candidate (Architecture) UCLA; MArch, BS(Architecture) Ohio State Univ. Architect. SeriesEditor, Source Books in Architecture. Publicationsinclude books on Morphosis, Bernard Tschumi,UN Studio, Steven Holl, Mack Scogin/MerrillElam Architects, and the MoMA exhibition "LightConstruction," and articles in Log, Dialogue, andLoud Paper.

Margaret GriffinSenior LecturerMArch, Univ of Va, BArch, Syracuse Univ.Architect. Principal, Griffin Enright Architects.Published extensively locally, nationally andinternationally. Awards include, local and stateAIA Awards and most recently the 2006 AmericanArchitecture Award from the Chicago Athenaeum.Recipient of the John Dinkeloo TravelingFellowship from the American Academy in Rome.

Eric HaasSenior LecturerMArch Harvard GSD, BDes Univ. of Florida.Architect. Principal, DSH. Residential ArchitectMagazine Design Merit Award, PreservationAward from the Los Angeles Conservancy.

DepartmentFaculty

30

William HoganSenior LecturerBArch Cal Poly Pomona. Architect. Owner,Hogan Architecture. Previously AssociateDirector, Los Angeles Institute of Architecture andDesign; Faculty Leader, Architecture Department,Santa Monica College; Project Architect, WaltDisney Imagineering with HNTB; ProjectDesigner, RAW Architecture.

Dawn HollingsworthSenior LecturerMBA, Pepperdine Univ, BFA, Univ of Okla.Certified Lighting Professional, National Councilon Qualifications for the Lighting Professions.Managing Design Principal, Visual Terrain, Inc.Architectural Lighting Designer of the Year 2000,Lighting Dimensions International, for the LAXGateway. Past President of the Los AngelesSection of the Illuminating Engineering Society.

Jason KerwinSenior Lecturer MArch Harvard GSD, BArch Illinois Institute ofTechnology. Architect. Partner, Office of KerwinBleet. Previously Associate, Koning EizenbergArchitecture; Project Architect, William HefnerArchitect; Project Assistant, lab architecturestudio, London; Intern, Lohan Associates,Chicago.

Greg KochanowskiSenior Lecturer MArch UCLA, BS (Architecture) Temple Univ.,BS (Architectural Engineering) WentworthInstitute. Project Architect/Project Manager, Rios Clementi Hale Studios. Principal, Founder,STUFF. Previously Project Manager, Hodgetts +Fung Design Associates; Associate, LeadDesigner, Roger Sherman Architecture and UrbanDesign (rsaud). Awards include Young ArchitectsForum Award, the Architectural League of NewYork; Merit Award and Honor Awards, AIA/LA.

Heather LibonatiSenior Lecturer MFA (Theater Design) CalArts; BA (Theater)Loyola University, Chicago. President, LuminesceDesign. Awards include (2) Lumen West Awardsof Excellence and (3) Lumen West Awards of Merit. Publications include ArchitecturalRecord and Lighting Design and Application forthe lighting design of the CalTrans Headquartersin Los Angeles.

Alexandra LoewSenior LecturerPhD candidate (Critical Studies in ArchitectureCulture), MArch UCLA; BA Univ. of Chicago.Principal in the design firm, from the desk of lola,inc., which focuses on interiors and décor.Publications and exhibitions include PrincetonUniversity, Yale University, Monacelli Press, NewWight Gallery, and the Netherlands ArchitectureInstitute.

Richard LundquistSenior LecturerBA (Architecture) UC Berkeley: Studied at theArchitectural Association, London. Architect,Principal, studio RCL. Publications include LOSANGELES, Architecture and Design (teNeues); Spa-de, Space and Design magazine; HospitalityDesign; Architectural Record; The ArchitecturalReview and Designer's Journal. Prior professionalexperience includes Bolles-Wilson, Frank Gehry,Morphosis, and Michele Saee.

Ben RagleSenior LecturerMArch UCLA; BArch CSPU San Luis Obispo.Principal, Office 42. Formerly Designer,JohnFriedmanAliceKimm Architects. Exhibitionsinclude Currents, UCLA; Designing the Highline,New York; First Step Housing, New York.Publications include Metropolis Magazine,Thought Matters, and Quick, Loose, Dirty: aTijuana Novella.


DepartmentFaculty

31


David ReddySenior LecturerMArch and BA, Univ of N.M. Architect.Managing Principal, Design Partner, R&DArchitects, Venice, CA. Over twenty yearsexperience in residential, institutional andcommercial architectural practice and ten yearsexperience in construction. Prior work experienceincludes Project Architect, Altoon + PorterArchitects; Project Manager and Design Director,Fields Devereaux Architects and Engineers;Project Architect, Frank O. Gehry and Associates;Architect, Gruen Associates; and Intern, AntoinePredock Architects.

Clark ThenhausLecturerMArch, Univ. of Penn; BEnvd, Univ. of Colorado.Project Designer, Griffin Enright Architects.Publications include 306090 Vol 12: Dimensionand Via Occupation (Via Publications Vol 1) as afeatured artist and editor.

DepartmentGoals

32

The Communication Arts Department offers a broad andcross-disciplinary learning experience for BFA candidatesmajoring in Advertising, Graphic Design, and Illustration.Our rigorous curricula and surrounding initiatives focus on: research, formal application and experimentation,technological proficiencies, and innovative outcomes.Students in the Communication Arts Department will:

Communication Arts

• Understand fundamental theories,methodologies and tools of visualcommunication.

• View themselves as cultural producerswho value both the creation of images,products and environments, and theirrelation to clients and audiences.

• Develop conceptual, technical andpresentation skills linked to commercialapplications and professional practices.

• Build competence in a broad range ofmedia and methods for deliveringimages and texts.

• Develop collaboration skills andmultidisciplinary methods of research,strategies, organization and analysis.

• Embrace and value problem-defining andproblem-solving skills and processes.

• Demonstrate creativity and the power ofeffective communication through theirwork.

• Adopt a life-long sense of communityresponsibility.

• Successfully manage life-long careers ina changing and competitive workplace.

• Embrace a commitment toprofessionalism.

DegreeRequirements

33

Advertising Design


Sciences section.

Sophomore Year Fall SpringCOMD207/208 Communication Studio I/II 3.0 3.0COMD214/215 Drawing + Painting I/II 2.0 2.0COMD218/219 Typography I/II 2.0 2.0COMD232/233 Practicum I/II 2.0 2.0

Sophomore Studio Electives 2.0 2.0AHCS220 Contemporary Perspectives in Art and Design 3.0 —–AHCS222 History of Gr Des/Adv/Illus —– 3.0*ENGL202 Sophomore English Requirements 3.0 —–*ILML 200 Integrated Learning Lecture —– 3.0


Junior Year Fall SpringADVT302/303 Advertising and Art Direction I/II 2.0 2.0COMD332/333 Practicum I/II 2.0 2.0ADVT353 Ideation Boot Camp 2.0 —–ADVT351 Copywriting —– 2.0COMD311 Typography III 2.0 —–ADVT355 Type & Image for Advertising —– 2.0

Studio Electives —– 4.0*ILMS300 Integrated Learning Studio 2.0 —–

*AHCS310 Art History Elective 3.0 –—*MATH336 Introduction to Symbolic Logic 3.0 —–*NSCI307 Natural Science —– 3.0



Senior Year Fall SpringADVT400/401 Advertising & Art Direction III/IV 2.0 2.0 ADVT440 Senior Project —– 3.0COMD432/433 Practicum I/II 2.0 2.0ADVT456 Interactive Advertising 2.0 —–

Studio Electives 4.0 6.0 *LIBS440 Senior Liberal Studies Capstone —– 3.0*SSCI 210 Social Science 3.0 —–LIBS404 Senior Project/Research Paper 2.0 —–


* These courses may be taken in either fall or spring semester.**Senior Advertising Majors must choose electives from the Advertising List. Any other elective choices require

departmental approval.

DegreeRequirements

34

Graphic Design

Descriptions forcourses listed in greyboxes are located inthe Liberal Arts andSciences section.

Sophomore Year Fall SpringCOMD207/208 Communication Studio I/II 3.0 3.0COMD214/215 Drawing & Painting I/II 2.0 2.0COMD218/219 Typography I/II 2.0 2.0COMD232/233 Practicum I/II 2.0 2.0

Sophomore Studio Electives 2.0 2.0AHCS220 Contemporary Perspectives in Art and Design 3.0 ----AHCS222 History of Gr Des/Adv/Illus ---- 3.0*ENGL202 Sophomore English Requirement 3.0 ----*ILML 200 Integrated Learning Lecture ---- 3.0


Junior Year Fall SpringCOMD300/301 Communication Studio III/IV 3.0 3.0COMD310/311 Typography III/IV 2.0 2.0COMD332/333 Practicum I/II 2.0 2.0COMD354 Professional Practice 2.0 –—

Studio Electives –— 4.0*ILMS300 Integrated Learning Studio 2.0 –—




Senior year Fall SpringCOMD440 Senior Project –— 3.0COMD432/433 Practicum I/II 2.0 2.0COMD472-477 Sr. Digital Electives 2.0 2.0

Studio Electives 6.0 6.0*LIBS440 Senior Liberal Studies Capstone —– 3.0*SSCI 210 Social Science 3.0 –—LIBS404 Senior Project/Research Paper 2.0 –—


*These courses may be taken in either the fall or the spring semester.

DegreeRequirements

35

Illustration

Sophomore Year Fall SpringCOMD207/208 Communication Studio I/II 3.0 3.0COMD214/215 Drawing & Painting I/II 2.0 2.0COMD218/219 Typography I/II 2.0 2.0COMD232/233 Practicum I/II 2.0 2.0

Studio Elective -or- 2.0 ----ILUS320 Drawing Intensive ---- 2.0AHCS220 Contemporary Perspectives in Art and Design 3.0 ----AHCS222 History of Gr Des/Adv/Illus ---- 3.0*ENGL202 Sophomore English Requirement 3.0 ----*ILML 200 Integrated Learning Lecture ---- 3.0


Junior Year Fall SpringILUS300/301 Communication Studio III/IV 3.0 3.0ILUS310/311 Drawing & Painting for Illustration 2.0 2.0ILUS332/333 Practicum I/II 2.0 2.0ILUS354 Professional Practice 2.0 –—

Studio Electives –— 4.0*ILMS300 Integrated Learning Studio 2.0 –—




Senior Year Fall SpringILUS402 Adv Illustrative Applications 2.0 ----ILUS440 Senior Project ---- 3.0COMD432/433 Practicum I/II 2.0 2.0COMD472-477 Sr. Digital Electives 2.0 2.0

Studio Electives 4.0 6.0*LIBS 440 Senior Liberal Studies Capstone ---- 3.0*SSCI 210 Social Science 3.0 ----LIBS404 Senior Project/Research Paper 2.0 ----




Sciences section.

Reviews

36

Communication Arts ReviewStructure

All reviews are required. Not to participate is toreceive an absence in each Communication Artsstudio course for that semester. The departmentdoes not hold courses in the fifteenth week of thesemester to accommodate the review process.

Sophomore Year:Fall: Attend three senior review panelsSpring: Three 15 minute, one-on-one reviews

Junior Year:Fall: Pass/Fail reviewSpring: Participation in the Internship Fair

Failing the review during the fall of junior year will result in a reduction of one letter gradein the core Communication Arts courses for the semester.

Senior Year:Fall: One-20 minute review Spring: Three-15 minute, one-on-one reviews

Advertising Workshop ADVT 240 2 credits This course introduces students to the world ofadvertising. Students experience the intersectionand difference between graphic design andadvertising. They look at some famous adcampaigns to learn why they were successful andhow they affected American culture. Artdirector/copywriter guest speakers along with fieldtrips to some of the most well known and awardwinning ad agencies in the LA area are scheduled.Students discover what it is to work in an agencyenvironment with real advertising assignments.

Deep Brand DiveADVT241 2 creditsThis course is designed to help broaden thestudents’ exposure to strategy and high-leveladvertising issues. It will look at the demographic,psychographic and attitudinal behavior of theconsumer. The class provides a context for howthe creative team can think about what camebefore the creative brief when consideringdirections and options.

Advertising and Art Direction IADVT302 2 creditsAn exploration of advertising through projects thatcall for brand recognition and marketing strategieswith an emphasis on defining and articulatingcompelling concepts. Students analyze advertisingstyles, develop concepts with "roughs,"experiment with copy and practice theirpresentation skills. Prerequisite: COMD207/208 CommunicationStudio I/II.

Advertising and Art Direction II ADVT303 2 creditsAn introduction to art direction with an emphasison design execution, typography and layout leadsto quality portfolio development. This secondsemester course adds the 4th dimension of time toboth advertising concepts through storyboardingand animatics and art direction through talentdirection and commercial concepts.Prerequisite: ADVT300 Advertising and ArtDirection I

Ideation Boot CampADVT353 2 creditsStudents are taught new and unexpected ways toapproach the process of creating ideas. Where dothey come from? How do you develop abundantthinking? What exercises work and when? Howdo you know that it’s a good idea? These andmany other questions are addressed in this course.

Copy Concepts in Advertising WritingADVT351 2 creditsStudents work on developing and analyzingwriting styles with an emphasis on theinteractivity of image and text as experienced byvaried and specific audiences. Students learnabout editing as they begin to approach writing asa powerful tool of persuasion and entertainment.

Type and Image for AdvertisingADVT 355 2 credits This class focuses on creating synergy betweenphotography and typography. Students develop the skills needed to be a competent Art Directoron professional photo-shoots through a series of hands-on commercial photography exercisesand then develop dynamic typographic solutionsthat compliment the photography and enhance the strategic communication goal.

Communication Arts

CourseDescriptions

CourseDescriptions

37

Communication Arts

Advertising and Art Direction III ADVT400 2 credits Students push their research, analytical andtechnical skills under the influence of advanced,in-depth instruction involving professionalcreative briefs to solve advertising and brandingproblems. Teamwork is essential as the studentsexplore creative assignments ranging fromindividual print ads to complete campaigns,including television and interactive andconvergent media. Prerequisite: Advertising and Art Direction II

Advertising and Art Direction IV ADVT402 2 credits Elements of professional practice are incorporatedinto this threshold semester where students fine-tune their professional competencies in theareas of traditional portfolio development, webpresentation and career focus through continuednetworking and investigation of agency structuresand business practices. Lectures, agency visits andcritiques complement this professional preparation.

Special TopicsADVT403 2 credits Students focus on advertising and brandingsolutions related to provocative and timelysubjects and themes. The seminar is conceived asa professional multidisciplinary studio, in whichstudents work in a range, individually andcollaboratively, to produce quality portfolio piecesgeared to their areas of professional interest.

Senior Project/SeminarADVT440 3 creditsStudents explore conceptual, theoretical,experimental communications problems based onindividual proposals offering them the opportunityto integrate personal vision with professionalgoals. Meeting in cross-disciplinary teamsfacilitated by faculty advisors, students define thescope and objectives of their inquiry and outlinetheir research and production methodologies. Theclass culminates in a visual project accompaniedby a written narrative.

Advanced Copy ConceptsADVT452 2 credits Extensive exploration of the power of effectivecopy for various media, expands the studentsunderstanding of target audiences using the

appropriate tone and level of formality.Developing clear, provocative and memorablecopy is the goal for shaping brands and deliveringtheir value to customers.

Social MediaADVT 472 2 creditsSocial Media is loosely defined as any onlineactivity where people share opinions, experiences orother information. It is a powerful, sometimes funand always unpredictable way of communicating intoday’s world. Students study various types of SocialMedia and gain a greater understanding of howpeople use it. Special focus is given to Facebook,MySpace, Twitter, blogging, Flickr, Delicious, Diggand YouTube. How companies (big and small) areusing Social Media to market in the onlineenvironment is also a topic.

On Screen Production + Concepts ADVT473 2 creditsThis course is designed for students to have abetter understanding of how to producecommercials in a real world-advertisingenvironment. Students will work in productionteam(s) in order to embrace a commitment ofprofessionalism in their specific practice. Theywill view themselves as cultural producers whovalue both the creation of work and their relationto clients and audiences. Students work to createcommercials using the fundamentals ofadvertising strategies, storyboarding design, sounddesign, art direction and video.

Communication Studio I/IICOMD207/208 3 credits/3 creditsThis course introduces the fundamental theoriesand methodologies of visual communication usedin the fields of graphic design, advertising design,and illustration. Assignments and critiquesdevelop problem-solving and visual storytellingskills with an emphasis on context, concept,audience, and process.

Drawing + Painting Studio I/IICOMD214/215 2 credits/2 creditsStudents are introduced to the variety of materialsand methods of drawing and painting, fromtraditional to conceptual visual thinking. Studentslearn that all visual communicators use drawing asa means of ideation or decision-making. Todevelop the necessary skills, special emphasis is

CourseDescriptions

38

given to drawing as a fundamental means forthinking, looking, and making decisions, and astraining in thinking through intense drawing exercisesin thumbnails, sketching, roughs, and storyboards.

Typography I/IICOMD218/219 2 credits/2 creditsThis course is an introduction to the fundamentalsof typography and the study of letterforms.Problems of increasing complexity referencehistorical and contemporary typographicaldevelopments as the student explores thetheoretical and applied use of type as visual formand visible language, from the letterpress to thecomputer screen. Students address and recognizetype families, grid construction, hierarchies, andorganizations based on visual, syntactical, andsemantic explorations.

Practicum I/IICOMD232/233 2 credits/2 creditsPracticum is one of the core learning structures in thecommunication arts curriculum. One-on-one critiqueswith faculty and guests, lectures, demos, andworkshops are all components of each section requiredof all students, sophomore to senior. Sections aredivided by year.

Communication Studio III/IV COMD300/301 3 credits/3 creditsThis course offers an increasingly sophisticatedexamination of design concepts and theirapplications. Students broaden their understanding ofeffective design as a visual language in two- andthree-dimensional projects and time-based media.Assignments involve research and analysis with afocus on type, image, aesthetics, message, audience,and intent. Students are required to take a print(cmyk) section in one semester and motion (rgb) inthe other semester. Prerequisite: For COMD 301 is COMD 300.

Typography III/IV COMD310/311 2 credits/2 creditsStudents engage in a more advanced study oftypographic systems, principles, and usage, withan emphasis on refining the students' under-standing of typography's informative, expressive,and experimental potential to solve complexcommunication problems in a range of media. Prerequisite: COMD218/219.

Experimental TypographyCOMD 312 2 creditsIn this class we will investigate the denotative,connotative and conceptual potential oftypography, by experimenting with letters, wordsand language. Students will test the limits oftypographic expression and expand the variety ofcreative strategies for generating and evolvingideas by working in 2-, 3- and 4-D. They willcurate and edit their own content, develop awillingness to experiment with the unfamiliar, andembrace ambiguity.

Type Design I COMD313 2 credits This course is an introduction to typographythrough a close look at the letterform itself and itsconstruction. Through the presentation ofhistorical references and the process of drawingand synthesizing signs, the students will developan understanding of the relationship betweencalligraphy and typography, tool and structure,concept and craft.

Type Design IICOMD314 2 credits This course will offer a more detailed analysis and study of typographic design. Students will be supported and encouraged as they seek to findtheir individual voice through personal history,everyday surroundings, or off-handedconceptualism.

Image MakingCOMD 323 2 creditsThis course explores how images create visualallegory, messaging and storytelling. Students willgain interpretive and technical skills to create mean-ingful images; the emphasis is on visual literacy andpost-production. Short experiments will focus oninterpreting the content of existing images and willlead to the creation of highly controlled content-based work. A series of weekly experiments willbuild interpretive skills and image-making chops,followed by two longer assignments. Longerassignments will incorporate successful method-ologies for complex image making and theories onthe role of the image in contemporary design.

Practicum I/IICOMD332/333 2 credits/2 creditsPracticum is one of the core learning structures in

Communication Arts

CourseDescriptions

39

Communication Arts

the communication arts curriculum. One-on-onecritiques with faculty and guests, lectures, demos,and workshops are all components of each sectionrequired of all students, sophomore to senior.Sections are divided by year.

Professional PracticeCOMD354 2 creditsA required course for all majors inCommunication Arts, it is divided into threecomponents, traditional portfolio development,web-portfolio design, and career developmentspecific to a major. Students will leave this courseprepared for an internship and/or employment.Lectures, demos, studio visits, visiting artists, andcritiques, collectively prepare students forworking in the field of advertising, illustration,and graphic design.

PropagandaCOMD 355 2 creditsThis course focuses on cultural, social, andpolitical content and forms. Students will researchtopic of choice and create a body of work thatreflects on related issues. Students who enroll inthis course will understand alternatives toillustration and design as corporate service.Assignments include research and presentation oncultural, social, or political topic of choice;realization of visuals that communicate and reflecton chosen topic; and collaboration withcommunity organizations whenpossible/applicable. Print Lab / Lab Fee.

Creative LabCOMD361 2 creditsIn weekly meetings students build formal andintellectual muscle in guided and free exerciseslike language games, free association, creativetriggers, lateral thinking, mapping and experi-mental mayhem to arrive at unique and unex-pected results. This elective is open to all majors.Lab Fee $35

Inroduction to LetterpressCOMD362 2 creditsFrom metal type to digital plates, students experiencethe traditional disciplines of typography, letterpress, andprinting while learning to integrate type and image, struc-ture and content, process and product. Students workin the Lab Press, which boasts a large collection ofwood and metal type, and Vandercook printing presses.

Bookmaking ProjectsCOMD 360 2 creditsThis course is a culmination of the skills andtechniques used in letterpress printing,typographic design, and edition bookmaking usingboth lead type and digital plate-making. Throughthe means of model making and testing, studentscombine both conceptual skills and printingtechnique to create books in the bookworktradition. Course assignments involve theintegration of text and image, paper selection, inksand inking, color, serial imaging, surfacepreparation and press editions. Prerequisite: COMD 362 Introduction toLetterpress and COMD 365 Bookstructures.

Visual Language COMD364 2 credits Students participate in a focused investigation,both historical and personal, of the links betweenvisual motif and meaning. Coursework exploresvisual literacy and the use of traditional andexperimental visual methodologies to illustrateand communicate while developing an effectivepersonal style.

Bookstructures COMD365 2 credits This course introduces the skills, craft, materials,process and techniques used in making bookstructures and boxes. Students learn bindingmethods involving paper folding, cutting, sewing,gluing and other means of assembling individualsheets, signatures and text blocks with or withoutcovers. Course assignments have the potential toevolve into creative and personal objects that holdvisual work and text. This course may be repeatedfor credit up to two times.

ImprovisationCOMD 371 2 creditsThis class focuses on team building, creativity/innovation, risk taking, problem solving andovercoming inherent barriers and blocks to creativity.Through improvisational exercises and games in asafe environment, listening skills are improved thatcan lead to better communication and satisfyingteamwork, presentation skills and production.

The Illustrated Book COMD372 2 credits This course is an introduction to publication

CourseDescriptions

40

design, with a focus on children's books. Workingfrom selected texts, students develop a projectfrom concept to completion: adapting a story,constructing a "dummy," creating original images,integrating typography, and designing a bookjacket, while exploring the role of thedesigner/illustrator as a visual storyteller. Prerequisite: Typography I.

Advanced LetterpressCOMD373 2 creditsFor students that have taken Intro to Letterpressand want to improve their expertise, the mainobjective is to achieve superior print quality andlearn new techniques. The class covers the subtlenature of handset type and goes further into theinking process including careful attention tomake-ready, packing the press and adjusting rollerheight. Students will also learn how to print ondampened paper; how to make detailed, high-quality photopolymer plates and alternativetechniques such as pressure printing where printsare created from a low-relief collage attached tothe tympan of the press behind the printing paper.

Environmental GraphicsCOMD381 2 credits Students are introduced to site-specific three-dimensional design systems, signage andapplications for buildings, events, exhibits, andother spatial environments. Projects expand thestudents’ understanding of human factors,architectural scale, way-finding, materials, andmethods for creating effective dimensional design. Prerequisite: Typography I.

Information Design COMD430 2 credits Students are introduced to the concepts,techniques, and creative methodologies forapplying a clear visual form to abstract conceptsand ideas. An overview of historical andcontemporary examples of informationarchitecture informs assignments that employvisual thinking, resulting in "design forunderstanding." Prerequisite: Typography I/II

Practicum I/II COMD432/433 2 credits/2creditsOne of the core learning structures in the curriculum,in which one-on-one critiques with faculty andguests, lectures, demos, and workshops are all

components of each section. Required of all students,sophomore to senior. Sections are divided by year.

Senior Project/Seminar COMD440 3 creditsStudents explore conceptual, theoretical, andexperimental communications problems based onindividual proposals, offering them the opportunityto integrate personal vision with professional goals.Meeting in cross-disciplinary teams facilitated byfaculty advisors, students define the scope andobjectives of their inquiry and outline their researchand production methodologies.The class culminatesin a visual project accompanied by a written narrative.

Identity and Systems DesignCOMD452 2 credits Students participate in a systematic study of thecreation and projection of identity: corporate,national, and personal. Discussion andassignments address problem solving, informationgathering, organization, strategy and systemsdevelopment, and applications standards, with afocus on branding, color, logotypes and symbols,typography, project presentation, and media fromprint to the web. This course may be repeated forcredit 2 times, with new subject matter.Prerequisite: Typography I/II.

EDG: Installation and InterventionCOMD 464 2 creditsThis course explores creative and innovative waysto engage graphics and conceptual ideas into threedimensional space. Students develop ideas aboutinteraction with space by exploring ourenvironment with a critical eye. Assignmentsencourage questioning of customary design toolsthrough exploration of unconventional andmultiple mediums, promote the development ofurban interventions interrupting daily life,mediation of time and space, and shape immediateenvironment according to personal preferences.

Ways of Thinking/Ways of Working(WOT/WOW) COMD466 2 credits Visiting Faculty are invited to Otis to work withstudents on project specific assignments. No twosemesters are alike. Lectures, workshops, demos,and critiques give students exposure topractitioners who join the institution for brief andintense periods of time.

Communication Arts

CourseDescriptions

41

Communication Arts

Visual Narrative and Sequence ICOMD469 2 credits This course is a focused introduction to theprinciples of story telling, narrative structures,sequence, rhythm, audience, and point-of-view.Students learn tools and techniques of ideationalsketching, thumbnails, and storyboards as meansof communicating and developing visual ideas.

Advanced Image Making ProjectsCOMD468 2 credits In this class students explore methodologies thatforeground concerns such as inspiration,motivation, intention, impression, interpretation,decision, consequence, analogy, chance,coincidence, predictability, message, ambiguity,literacy, manipulation, privacy, intimacy, memory,subjectivity and media in the process of imagemaking. Students learn to integrate and discernlevels of communication in and through their ownand other students’ processes.

Web PresenceCOMD 477 2 creditsThis course will focus on the creation of a website that effectively and accurately representsyourself and your work online.We will cover theconceptualization, planning, organization, design andproduction of your portfolio website. We will examinevarious approaches and review available tech-nologies to determine which are the most appropriatefor you. You should have a basic understanding ofHTML, CSS and Adobe Dreamweaver.

Web Design ICOMD478 2 creditsThis course explores the concepts and structuresof online communications, as an extendedcommunications medium with applications forbusinesses, education entertainment, andadvertising. Discussion and individual and teamassignments address navigational structures,systems, identity, audience and intent in the designof Web site prototypes. Questions such as “Whathappens to design as it changes media, and howwe design for that?” are explored.

Digital Innovation: Web Design IICOMD479 2 creditsThis course offers a more in-depth look into Website design and the future of this ever-evolvingmedium. Students will analyze existing sites;

explore and experiment with formal andconceptual development that is unique, personal,and innovative.

Internship COMD482 2 credits This course assists students in researching theperfect internship. Using a mentorship principle,the faculty are available throughout the internshipto answer questions, troubleshoot, and ensure aquality experience in the professional world.Prerequisite: Professional Practice in the major.

Entrepreneur 101COMD 483 2 creditsEntrepreneurship is designed to prepare students toopen their own business. Introduction to all facets ofrunning a business, such as marketing, promotion,developing a client base, pricing, legal and financialaspects as well as ethical standards will be covered.Students will learn best-business practices from:clients, an accountant, an attorney, a banker, andvendors. This course will teach students how to plan,establish, and sustain a meaningful studio, office,and/or agency. This course is available to ComArtsgraduating seniors only.

Translation for DistributionCOMD 485 2 creditsIn this class, each design senior will work withanother senior from a different department, towardsthe production of a publication as a document of theother person's work . This setup allows the benefitof objectivity. We will particularly focus on (a) theidea of designing as the attempt to translate thenature and intentions of the originary work, (b) thespecific possibilities and limitations of the situation,and (c) the various approaches to distribution. Wewill begin without any preconceptions of what formthese 'publications' might take.

Independent Study COMD999 1-6 creditsIndependent studies provide students with anopportunity to work closely and collaboratively withcommunication arts faculty on assignments that extendthe scope of their current interests, or expand theirexpertise. Applications for independent study projectsare reviewed and approved by the depart-ment chairbased on proposals submitted by interested students.

CourseDescriptions

42

Communication Studio III/IV ILUS300/301 3 credits/3 creditsThis course provides an increasingly sophisticatedexamination of illustration concepts and theirapplications. Students broaden their understandingof illustration as a visual language in projects thatinvolve research and analysis, with a focus onimage making, aesthetics, message, audience, andintent. Assignments develop effective visualnarratives based on strong concepts and problem-solving methods, and refined use of media andtechnique, both digital and analog. Prerequisite: For ILUS 301 is ILUS 300.

Drawing and Painting for Illustration ILUS310/311 2 credits/2 creditsStudents refine their expressive and observationaldrawing, painting and composition skills, as theyrelate to illustration as a means of visualcommunication. Studio sessions encourageexperimentation and improved technique, leadingto the development of personal style.

Drawing Intensive ILUS320 2 creditsThis sophomore elective course is designed toenhance the students' drawing capabilities with afocus on space and objects in space. Emphasis ison developing a basic understanding of, andfamiliarity with, perspective as a means oforganizing space and defining a point of view.Sophomores planning to major in illustration takeeither one semester of ILUS320 drawing intensiveor COMD240 video workshop. This course may be repeated for credit up to 2 times.

Comic BookILUS340 2 creditsStudents learn the steps needed to complete afinished eight-page comic book story that isassembled as a mini-comic. The students beginby focusing on writing and story structure, a vitalpart of animation, comics, storyboarding,screenwriting and children’s books. They thenlook at how to tell a story visually, equivalent tolearning how to become a great director. Thefocus will be on choosing the point of view, angle,lighting, and composition of each panel and howto make those panels read together in an effectiveand compelling way. The students also learn froma focused critique process of their self-containedstory. All stories are penciled, inked and lettered.

The Politics of ColorILUS 341 2 creditsThis course is an investigation of the potentsymbolism of color and its relationship to visualcommunications. Assignments vary in complexity,media selection, technique, audience and application.

Alternative Materials and Proceduresfor IllustratorsILUS 353 2 creditsCourse focuses on the use of mixed media andalternative materials for image construction. Theclass will explore the “use values” of differentmediums and how they effect communication.Some materials explored will be graphite, paint,paper collage, cloth, digital collage, transfers, oilbars, duct tape, resin, inks, wax, etc. Exploring andexperimenting with different combinations ofmaterials will be encouraged. Class instruction willinclude the following lectures, assigned projects,demos, field trips, and slide presentations.

Professional Practice ILUS354 2 credits A required course for all majors in CommunicationArts, it is divided into three components, traditionalportfolio development, web-portfolio design, andcareer development specific to a major. Students willleave this course prepared for an internship and/oremployment. Lectures, demos, studio visits, visitingartists, and critiques, collectively prepare students forworking in the field of advertising, illustration, andgraphic design.

Editorial Illustration / Visual TranslatorsILUS 357 2 creditsThe genre of editorial illustration gives the illustratorample opportunity to solve diverse conceptualproblems. Publications often rely on images toilluminate articles, assertions and the like. This classwill approach varying editorial assignments -- all ofwhich call for clear visual ideas, in response to awritten text. Students will be given modern–dayeditorial assignments ranging from political, socialand environmental issues. Through each assignment,students will begin to develop a keener awareness ofhow to visually translate a text.

Communication Arts

Course Descriptions

43

Communication Arts

Experimental PrintmakingILUS 355 2 creditsThis course provides an opportunity for formalapplication and experimentation through alternativeprintmaking processes. Emphasis is placed onproblem-solving through process, substance, andstyle. Students will consider content, subject, andformal attributes of independently proposed projects.Readings, discussions, and lectures will addressrelevant topics such as multiplicity, historicalpredecessors, and critique.

Advanced Illustrative Applications ILUS402 2 credits Assignments challenge the student to create arange of inventive and effective illustrativesolutions, beyond editorial imagery, for alternativeapplications in a range of media.

Senior Project/SeminarILUS440 3 creditsStudents explore conceptual, theoretical, andexperimental communications problems based onindividual proposals, offering them theopportunity to integrate personal vision withprofessional goals. Meeting in cross-disciplinaryteams facilitated by faculty advisors, studentsdefine the scope and objectives of their inquiryand outline their research and productionmethodologies. The class culminates in a visualproject accompanied by a written narrative.

Illustration Concepts: The Power of theStoryILUS457 2 credits This intensive studio is designed to strengthencritical problem solving and imaginative skills,concept development, character design, stagingdevelopment, and techniques, with an emphasison, and analysis of drawing skills. Projectsinvolve innovative image making, frompreliminary sketches to developed solutions, usinga variety of media.

Independent Study ILUS999 1-6 credits Independent studies provide an opportunity forstudents to work closely and collaboratively withcommunication arts faculty on assignments thatextend the scope of their current interests, or expandtheir expertise. Applications for independent study

projects are reviewed and approved by thedepartment chair based on proposals submitted byinterested students.

Printmaking IPRNT267 3 creditsA basic printmaking course introduces a variety ofprint methods, such as monoprint, relief, intaglio,silkscreen and lithography as well as variousapproaches to making and printing plates in eachmedium. Through individual and collaborativeprojects students will learn to produce editions,wallpaper, and installations. Students also gain anunderstanding of the historical and contemporaryaspects of printmaking. Lab Fee: $35

Introduction to ScreenprintingPRNT268 2 creditsThis course introduces artists to screen-printing, one of the most versatile print mediums. Studentswill gain a good understanding of the materials from coating and exposing a screen, registration, useof stencils and mixing inks. Direct emulsion photoscreens allow students to work from a variety ofsource material. Students may work on surfacesincluding paper, fabric, plastic and wood.

Printmaking IIPRNT270 3 credits An advanced course offers the opportunity towork intensively on individual projects using themultiple. Students will learn to develop all stagesof the multiple using the print method best suitedfor their work conceptually and technically.Emphasis is on development of personal imageryand exploration of the media. (A prerequisite ofPrintmaking I or equivalent experience isrequired.) Lab Fee: $35

Printmaking IIIPRNT370 2 creditsStudents refine their vision in advanced projectsdeveloped with an emphasis on practice andcritical dialogue. Visits to local printmakingpresses, artists and print exhibitions throughoutthe semester explore the role of the print as ahistorical and contemporary medium, and thesignificance of the multiple in contemporary art. (A prerequisite of Printmaking I or equivalentexperience is required.)Lab Fee: $35

DepartmentFaculty

44

Kali NikitasChairMFA (Graphic Design) Cal Arts; BA Univ ofIllinois at Chicago. Designer, author, curator andeditor. Founder of the design firm,Graphic Designfor Love (&$). Fellow of the Design Institute ofMinneapolis; past Chair of theDepartment ofVisual Arts at Northeastern Univ. and MinneapolisCollege of Art and Design; faculty member at theSchool of the Art Institute of Chicago. Curatedtwo international design exhibitions and co-programmed the international symposia “Just theType” and “What Matters.” Her work has beenpublished in Emigre, Eye, I.D. and the AIGAJournal; and she has received awards from theACD, AIGA and the Type Directors Club.

Barbara Maloutas Associate Chair, Professor MFA (Creative Writing) Otis; BFA (GraphicDesign), Philadelphia College of Art; GraduateStudies, Kunstgewerbeschule, Basel, Switzerlandwith Armin Hoffman and Wolfgang Weingart.Freelance graphic designer and book designer.

Annie AdjchavanichSenior LecturerBFA Corcoran College of Art & Design. GalleryDirector of Billy Shire Fine Arts, Culver City, CAand La Luz de Jesus Gallery, Los Angeles, CA.Previously Executive Director Washington Projectfor the Arts\Corcoran and evaluator for theMacArthur Fellows Program.

Juliette BellocqSenior LecturerMFA (Graphic Design) Cal Arts; prior studies indesign and typography in Paris and theNetherlands. Art Director at Osborn Architects.Published by the New York Times, HOW MagazineInternational Design Awards and the AIGA.Exhibited in “Grown in California” in SanFrancisco and Pasadena.

Maja BlazejewskaSenior LecturerDesigner, LACMA. Clients include Sony Music,Ogilvy Brand Integration Group. Recognitionfrom AIGA, awards from Art Directors Club,Out:Put. Currently designer for Los AngelesCounty Museum of Art for publications,marketing materials, special exhibition graphicsand exhibitions’ visual identities. Recognized byAIGA and rewarded by Art Directors Club andOut:Put as well as published in Lino.

Michael BoychukLecturerBFA (Graphic Design) and BA (Advertising)Washington St. Univ. Co-founder with CEO BenWiener of Wongdoody, Los Angeles. Clientsinclude Adidas, Alpine Electronics of America,CLIF Bar, Fox Sports, Johnny Rockets, theDodgers and MGM Home Entertainment. Awardsfrom Cannes (a Gold Lion), the Clios,Communication Arts, Art Directors, The OneShow, Graphis and The Belding Awards.

Riah BuchananLecturerMFA Cranbrook Academy of Art, Post-Baccalaureate (Graphic Design), MinneapolisCollege of Art and Design; BA (Psychology),Carleton College. Clients include the nationaloffice of the American Civil Liberties Union,newyorktimes.com, Social Science ResearchFoundation, Revenue Watch and the New YorkCenter for Book Arts.

Miguel CaballeroSenior LecturerBS (Advertising) Univ of FL, with further studies atMiami AD School. Currently, Senior Writer,DDB/LA. Clients include Wells Fargo, BigBrothers/Big Sisters, LA Public Health Department.Previously, writer for agencies—WongDoody, ButlerShine & Stern, Creature, Cole & Weber, JWT andJohnson Sheen whose clients included GerberKnives, Tool & Gear, Oregon Cheese, PortlandTribune, Tonkin Automotive.

Communication Arts

DepartmentFaculty

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Communication Arts

Carolee CampbellSenior LecturerProprietor of Ninja Press since 1984. Designs,illustrates, hand-sets in type, prints letterpress &binds each edition of books. Devoted to thecontinual investigation of form & unusualmaterials. Exhibited internationally, collectedprivately & by such institutions as The GettyCenter, The British Library, NYPL, Harvard,UCLA, Brown, Smith, Wellesley.

Enzo CesarioLecturerBFA (Studio Art) UC Irvine, BFA (Advertising)Art Center. Clients include Coca Cola, Sony,Microsoft, Discovery Channel, Nexon Games,THQ, VTech, Countrywide, Disney, Los AngelesTimes, NET TV, Skyscraper Brewing Company,Slam Boom Bang.

Rebecca ChamleeAdjunct Associate ProfessorBFA (Communication Design) Otis. Graphicdesigner with a particular interest and passion forbooks. Clients include Capitol Records, CoorsBrewing Company, Creative Artist Agency,Chronicle Books, LA County Museum of Art,Ogilvy & Mather, Sony Music Entertainment,Inc., Virgin Games & Interactive Entertainment.

Kim DeMarcoSenior LecturerBFA RISD. Illustrations published in The NewYorker and The New York Times, as well as theSociety of Illustrators, Print, and several annualsof American Illustration. Clients include Harrod's,Kate Spade, Barney's New York, Rizzoli, Simonand Schuster, The New York Public Library, TheOxygen Network, TV Land, Pentagram, andMikasa.

Robert DobbieLecturerBFA (Illustration) Otis. Freelance illustrator.Clients include American Airlines, Fox FamilyChannel, AFLAC, Snack King and MurphyDesign.

Jessica FleischmannSenior LecturerMA (Latin American Studies) University ofChicago; MFA (Graphic Design) Cal Arts; BA(History) UC Santa Barbara. Principal, Still Room.Formerly, with Lorraine Wild Design, Art Director ofWestern Interiors and Design magazine. Collaborateswith designers on both coasts. Clients includeAbrams, Chronicle Books, Greybull Press, LACE,LACMA, MOCA, Whitney Museum, UC Press,Laguna Museum of Art.

Besse Gardner Senior Lecturer BA (Anthropology) UC Berkeley. StrategicPlanner at 72andSunny. Clients include Bugaboo,The CW network, Callaway Golf, The DiscoveryChannel, Quiksilver and a variety of new businessprojects. Prior to 72andSunny she freelanced inthe Planning Department at RPA in Santa Monicaon Acura.

Katie HanburgerSenior LecturerMFA (Graphic Design) Cal Arts, BA (Journalism),Univ of NC, Chapel Hill. Graphic designer, maker& illustrator interested in the intersection of thepractical and the imaginary. Clients includeCalArts, REDCAT, USC Roski School of FineArt, Chronicle Books, MTV and LaneCrawford/Chandelier Creative.

Nancy Jo HaselbacherAssociate ProfessorMFA, RISD, BFA Art Inst of Boston. Hasexhibited at The Craft and Folk Art Museum, LosAngeles, Temple Univ., Rome, The Museum ofUrban Art and Culture, Boston, Track 16 Gallery,Los Angeles, and The Center for ContemporaryPrintmaking, Norwalk, CT.

DepartmentFaculty

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Erin HauberAssistant ProfessorPost-Baccalaureate (Graphic Design), MinneapolisCollege of Art and Design; BA Univ of Wisc.Principal, cottage industries. Formerly Design andCommunications Director, Westport Arts Center;Senior Designer, Intermedia Arts; Designer andProject Manager, MCAD DesignWorks. Recentclients include: Process Type Foundry, the WestportArts Center, Relay Records and the Los AngelesChamber Orchestra.

Lorenzo Hurtado Segovia Assistant ProfessorMFA Otis, BA (Art) UCLA. Master Printer,Analogue Press and Cirrus.

Roman JasterLecturerBFA, Cal Arts. Graphic designer for culturalorganizations and artists. Focus on print and bookdesign, as well as web design and development.Co-founder and co-editor of Mammut Magazine.

Yasmin KhanAdjunct Associate ProfessorMFA Cal Arts, BFAArt Center, BA UCLA. Partner,counterspace, an LA-based design studio focused ondesign for cultural institutions and branding/identityin Web, broadcast, and print media. Recent clients:MOCA, the Orange County Museum of Art, ImaginaryForces, Arthur Magazine, HarperCollins, REDCAT.

Cecil KimSenior LecturerBFA (Illustration) Art Center. Conceptual designerand illustrator for Imaginary Forces, Parasite Eve,Square USA, Sony.

Marc KompaneyetsLecturerBFA University of Pennsylvania. Attended Schoolof Art Institute of Chicago and PennsylvaniaAcademy of Fine Arts.

Patricia KovicAssistant ProfessorBFASUNY Buffalo. Graphic designer and principal atStudio Morris. Offices in L.A. and N.Y. for Fortune500 companies. Design awards from the AIGA, N.Y.Art Directors’ Club, Communication Arts magazineand Communication Graphics.

Daniel LimSenior LecturerMFA School of Visual Arts, BFAArt Center.Published in American Illustration, 3by3 Magazine,Illustration Now! by Taschen Books. Clients includeGuidepost, Angel Magazine, Playboy, Mixmag UK,Oxford American Magazine, New York Times, LAWeekly, G4TechTV, Television Weekly, UpsceneMagazine and Murphy Design.

Greg LindySenior Lecturer BA (Graphic Design) CSU Northridge.Developed a font family for Thirstype, whichincludes the fonts Lux and Section. Clientsinclude The Getty Center, Autry Museum ofWestern Heritage, Capitol Records, E!Entertainment Television, UCLA, and SCI-Arc.

Anna Llorente-ThurikSenior LecturerPost-Bac (Graphic Design) Art Institute ofChicago, MFA (Graphic Design) Cal Arts, BAS(Architecture)Washington University, St. Louis. Recently founded own design practice with clientsincluding The Getty Museum, The JerdePartnership, California Institute of the Arts, UrbanPartners LLC and Fernando Vasquez/Studioamong others. Formerly with Sussman/Prejza &Company, Inc., Richard Orne and Associates andLorraine Wild Design/Morphosis.

Geoff McGannSenior Lecturer BFA Art Center, Creative director and writer forWeiden + Kennedy, Portland, Ogilvy & Mather,L.A., and Digital Kitchen, Seattle/Chicago.Clients include Nike, Miller, Coca-Cola, MTV,Subaru, Sega, Gap, Microsoft, AT&T, GM,Chrysler, Ford, Dow and Proctor & Gamble.

Lauren MacklerSenior LecturerMFA (Graphic Design) RISD, BS (Studio Art) NYU.Graphic designer, artist and curator whose practiceincludes making catalogs for exhibitions, posters,artist edition prints, videos, installations and curatinggroup exhibitions in New York and Tokyo.Worked inmotion graphics in N.Y

Communication Arts

DepartmentFaculty

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Communication Arts

Erick MangaliSenior LecturerBFA (Graphic Design) Loyola MarymountUniversity. Clients at "The Bookshop" under Mike Whitlow include: ESPN, Fox Sports,Wienerschnitzel and Chevy. Currently a SeniorArt Director at Deutsch Los Angeles working onDirecTV. Awards and recognition from TheBeldings, The Addys, Communication Arts andThe One Show.

Nathan Ota Adjunct Associate ProfessorBFA (Illustration) Art Center. Clients include TheWall Street Journal, Chicago Tribune, New YorkTimes, U.S. News & World Report, CapitolRecords, House of Blues Music Company, andVirgin Interactive-Entertainment, Jazz magazine,Imago Recording Company, and 2-13-61Publications.

Renee PetropoulosAssociate ProfessorBA, MFA UCLA. Exhibited throughout the U.Sand internationally. In Los Angeles, she isrepresented by Rosamund Felsen Gallery, SantaMonica. Numerous public site commissions, andexhibited at the San Francisco Jewish Museum;Blaffer Museum; Occidental College WeingartGallery; and Galerie Krinzinger, Vienna. Grantsand awards from J. Paul Getty, DurfeeFoundaiotn, Art Matters, and COLA.

Faria RajiSenior LecturerBFA (Advertising) Art Center. Clients includeAnaheim Angels Baseball Team, Heaven’s BistroPizza, Manifesto Films, Hurricane Beer, LarryFlynt Publications, Big and Tall Pictures,TotalSports.com, Triple X Records, UniversalPictures and many more.

Luis Ramirez LecturerV.P Assoc. Creative Director, RPAwith clientssuch as Honda, Acura, La-Z-Boy, PENTAX and VH1.More than 13 years of experience inadvertising and Internet industries.

Tanya RubbakSenior LecturerMFA (Graphic Design) Cal Arts, BA Univ of Pa.Freelance graphic designer concentrating on print andweb design for arts and culture clients. Previously atMixed Greens gallery and 5+design studio.

Robert Sain LecturerBA, Emory University. Curator, educator, and artsmanagement. Organizes experimental exhibitionswith a particular focus on artist's commissions andpublic engagement. As founding director ofLACMALab, pioneered programs that wereparticipatory and "age-free".

Erik Mark SandbergSenior LecturerBFA Art Center; Fine Art Printmaking Atelier withGemini Gel Master Printer, Anthony Zepeda, AAS(3D Animation) Art Institute of Minneapolis.Awards from Society of Illustrators. Published inAmerican Illustration, Communication Arts,Creative Review, 3x3, Objects, Tokion, and more.Clients include Rolling Stone, New York Times,Harvard Business Review, Spin, Budweiser, Pepsi,Absolut Vodka.

JT SteinySenior LecturerBFA (Illustration) Otis. Freelance Illustrator.Clients include Los Angeles Times, USA Today,Smart Money, Sony Records, Rhino Records, andLA Weekly.

Leslie SunSenior LecturerMFA Cal Arts, BS USC. Partner, LSMD Formerly with Green Dragon Office.

Cybil WeigelSenior LecturerMFA (Media Design) Art Center, BFA (GraphicDesign) Maryland Institute College of Art. Founder of Embeddedin.LA. Clients includeMGM Music, BLX Records, Gold Chain Music,Diamonds Entertainment.

DepartmentFaculty

48

Jessica WexlerSenior LecturerMFA Cal Arts; AAS Parsons School of Design;BA Haverford College. Partner, Greenblatt-Wexler. Freelance designer specializing in printand web for the art, culture and creativeindustries.

John WhiteAssistant Professor and Coordinator, AdvertisingDesign Founder and principal of Paperplane, a full service brand communication agency with clients including, Mattel Toys, Epson of America, Subaru of America, El Torito and AcapulcoRestaurants, Hot Topic, Weider Nutrition, Kinkos and The Queen Mary. Awards include a Telly and inclusion in the Permanent Collectionof the Library of Congress.

Davey Whitcraft Assistant Professor MFA (Design and Media Arts) UCLA, BFA CCA.Principal, Willem Augustus Studio. Awards fromAIGA, Art Directors Club N.Y. Published inGraphis, Print, SXSW Interactive, Altpick, EisnerAmerican Museum of Advertising and Design,EvoMUSART.

Communication Arts

DepartmentGoals

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Digital Media’s industry leaders teach traditional and digitalskills to creative motion designers, artists, and storytellersin the film, television, video gaming and advertisingindustries. Students in the Digital Media Department will:

Digital Media

• Learn to succeed no matter what theirinitial skills are.

• Understand people skills, designprinciples and process to enable them totake creative risks and to solve problemspositively and in unique ways.

• Build a strong foundation in all aspects ofdesign and production for storytelling inmotion.

• Seek inspiration in fields outside ofdigital media such as poetry, science,music, astronomy, history, and dance.

• Develop their professional commitmentto their field, their work and themselves;prepare them to be members and leadersin their profession; teach them how toact both as individuals and as teammembers to support the whole.

• Learn to continually challengethemselves and also laugh often and fullyenjoy what they do.

• Value continuous learning,experimentation, and both professionaland personal growth. Engender anattitude of openness so that they seeknew and unusual opportunities to learnand create.

DegreeRequirements

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Digital Media


Sciences section.

Sophomore Year Fall SpringDGMD200/220 Media in Motion I/II 3.0 3.0DGMD270 Basic 3D for Storytellers 2.0 —–DGMD250 Perspectives in Stories, Technologies & Design 2.0 —–DGMD260 Studio Visits —– 2.0DGMD230 Drawing the Fantastic for Films and TV —– 2.0-or- +DGM340 Type and Design FundamentalsDGMD285 Concept Development and Creativity —– 2.0

Studio Elective 2.0 2.0AHCS310 Art History Elective —– 3.0AHCS220 Contemporary Perspectives in Art and Design 3.0 —–*ENGL202 Sophomore English 3.0 —–LIBS217 Concepts & Issues in Media Arts 2.0 —–*ILML200 Integrated Learning Lecture —– 3.0Total Credits per Semester 17.0 17.0

Junior Year Fall SpringDGMD300/301 Media in Motion III/IV 3.0 3.0DGMD320 3D Modeling and Animation 3.0 —–DGMD325 Advanced 3D Animation —– 3.0DGMD330/331 Visual Effects I/II 3.0 3.0DGMD350 Perspectives in Entertainment & Technology 2.0 —–**ILMS300 Integrated Learning Studio** —– 2.0

*AHCS310 Art History Elective 3.0 –—*MATH136 Math for Artists and Designer —– 3.0*NSCI307 Natural Science 3.0 —–



Senior Year Fall SpringDGMD402 Thesis Preparation 3.0 –—DGMD400 Senior Thesis –— 4.0DGMD410/411 Business Seminar I/II 2.0 2.0DGMD430 Practicum in Media Technologies 3.0 –—DGMD440 Advanced Tools & Techniques –— 3.0DGMD450 Advanced Concept Development 2.0 –—

Studio Electives 2.0 4.0*LIBS440 Senior Liberal Studies Capstone –— 3.0*SSCI210 Social Science 3.0 –—Total Credits per Semester 15.0 16.0

*These courses may be taken in either the fall or spring semester. + It is suggested that students take Drawing Fantasticif they are interested in 3D or Visual Effects, or take Type and Design if they are interested in Motion Graphics.*** Juniors will be assigned to take ILMS300 either in the Fall or Spring. If you take it in the fall, you will have Tricks of the Trade in the Spring. It you take ILMS300 in the Spring, you will have taken Perspectives in the fall

NOTE: In the Spring semester of the Junior year, students with a grade point average of 3.5 or better are eligible to applyfor DGMD399 Honors Project, in lieu of one of the other Junior required courses.

Media in Motion I DGMD200 3 creditsThis course is an introduction to digital imagemaking, manipulation and management.Fundamental concepts of storytelling, digitalmedia, type design, and motion design are definedas students learn the techniques for imagecreation, input, manipulation and enhancement, aswell as non-linear editing, compositing, anddigital video.

Media in Motion II DGMD220 3 creditsStudents learn industry standard applications for motion graphics and storytelling by masteringappropriate software through a series of designassignments, concentrating on color, typography,and motion.

Drawing Fantastic The Creative Figure DGMD 230 2 creditsLos Angeles’ top models are presented in dynamicposes. The sessions are theme oriented with anemphasis on story and action

Drawing the Fantastic for Films and Video DGMD231 2 creditsWhile continuing with traditional life drawingexercises, students progress to drawing thefantastic, such as monsters, aliens, dinosaurs, andimagery from traditional Hollywood genres.Students draw under a range of dramatic lightingconditions. Reviews of animation from around theworld are incorporated. This course may also betaken as an elective. Open to all majors.

Digital Media Imaging/Painting DGMD240 2 creditsThis course extends students' skills with AdobePhotoshop and Illustrator. Students investigate thefunctions of these applications and become expertin their uses.

Perspectives in Stories, Technologies & DesignDGMD250 2 creditsLectures explore all aspects of design, technology,and the nature of the industries utilizing digitalmedia, as well as an introduction to the occupationsinvolved in these fields.

Studio Visits DGMD260 2 creditsStudents research and visit various video gamedevelopers, special effects houses, post-productionfacilities, film and TV Studios, independent designhouses, and freelancers, as an exposure to thepositions available in the industry and thedifferent cultures of these companies.

Basic 3D for Storytellers DGMD270 2 creditsThis course introduces students to 3D animation.Students begin to learn about space and theprinciples of animation. They then proceed to 3Dcomputer animation, with special emphasis on itsuse to communicate stories for film, television,and video games.

Concept Development and Creativity DGMD285 2 creditsStudents learn how to apply research, criticalanalysis, brainstorming and improvisationaltechniques in order to create ideas for effectivestorytelling and communication, through motiongraphics and animation.

Media In Motion III/IV DGMD300/301 3 credits/3 creditsThe art and design of motion graphics isinvestigated in depth. Students explore the worldof broadcast design, and the use of motiongraphics for a variety of purposes.

Animation Topics DGMD310 2 creditsTopics courses are designed to take advantage ofthe specific areas of expertise offered by guestfaculty. This is a special topics course thataddresses issues in animation. See department forofferings each semester.

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CourseDescriptions

CourseDescriptions

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Digital Media

Concept Art for Video Games and FilmsDGMD310 2 creditsIn this course, students create everything frommonsters to little girls and puppies. Conceptdevelopment for video games and films includes,not only designing characters and the settings, butalso creating the back-story for each one. Studentsinvestigate and develop character motivation, setand equipment purposes, and their histories tocreate solid understanding of these components, asthey lead to successful concepts.

Concept Art Environments & Props &Vehicles DGMD310 2 credits Learn how to create the concepts for the differentelements that go into building a game.

Digital Sculpting in ZBrushDGMB310 2 CreditsLearn advanced tools of digital sculpting andpainting in ZBrush. You’ll learn someof the techniques used to create next generationgame and movie characters. Create architecturalalong with organic models with millions ofpolygons. This class will require a basicknowledge of the ZBrush and a prior class inorganic modeling or the equivalent.

Painting-Old School for the New SchoolDGMD310 2 CreditsWorking from a live model with traditionalmaterials and techniques, the focus of this class isto strengthen one’s knowledge and mode ofexpression with color and light. Students willdevelop a shorthand approach of balancing largeshapes of color against one another to define animage’s overall tone, structure and composition.Instructor demonstrations will be done with oiland gouache.

Concept Art Environmental Painting DGMD310 2 credits This is a digital painting class focusing onEnvironments.

Visual Development for AnimationDGMD310 2 CreditsAn introduction to visual development using thetraditional animation production styles of classicDisney, Warner Brothers, and many othercelebrated animated shorts and feature films.There will be great emphasis on lighting,composition, and mood. Students will alsodevelop strong storytelling skills through theircharacter designs and environments developing aunique consistent style along the way. Bothtraditional technique and computer 2D paintingtechnique will be used to create artworks.

3D for Motion - Cinema 4DDGMD310 2 CreditsThis course covers the use of Cinema 4D to createelements and 3D animation for motion graphics.Students will learn C4D for development ofgraphics ranging from 3D type treatments andbackgrounds to looping elements and anintroduction to Mograph, C4D’s proceduralanimation system. Modeling, materials and shaderdevelopment, lighting and multi pass rendering forcompositing with After Effects will also beaddressed.

Narrative Topics DGMD311 2 creditsTopics courses are designed to take advantage ofthe specific areas of expertise offered by guestfaculty. This is a special topics course thataddresses issues in narration. See department forofferings each semester.

Comic BooksDGMD311 2 creditsThis course provides an introduction to the comicsas a story telling medium. Students learn todevelop and execute their own ideas using comics.The industry's history and future are explored.Emphasis is placed on writing, drawing, andpresentation. Both traditional skills and digitalskills are required.

Creativity and Storytelling: Experimentswith Digital FilmmakingDGMD311 2 creditsThis class explores digital filmmaking from bothnarrative and experimental viewpoints. Manywonderful animators, filmmakers and artists havecreated stunning experimental films since thebeginning of the art form. Students extend thistradition with non-traditional tools. Discussionincludes when it is effective to stick to narrativeand when it is right to diverge. Students areencouraged to experiment with multiple ideas andtechniques.

Drawing and Painting TopicsDGMD312 2 creditsTopics courses are designed to take advantage ofthe specific areas of expertise offered by guestfaculty. This is a special topics course thataddresses issues in drawing and painting. Seedepartment for offerings each semester.

Dynamic Painting ConceptsDGMD312 2 Credits What is digital painting without the PAINTING?We will cover painting basics from an advancedperspective for concept art. Our focus will belearning strong value and color control within thescheme of everything else you have learned so far.We will be breaking down the logic of light andmaterial and how to communicate your conceptsvisually.

Drawing & Painting Vehicles DGMD312 2 Credits Explore digital painting and sketching as well asvehicle design.You’ll be using the Cintiq lab forthis class.

Earth, Wind and Fire DGMD312 2 creditsStudents examine, analyze and use different artmedia to capture a vast array of landscapes:mountains, desert, forest, ocean, city, and thefantastic. In addition, they cover the effects ofweather: rain, clouds, changing sunlight, etc. andunique natural and geologic phenomena, such asvolcanoes, meteors, and tornadoes. This course isstrongly recommended for students interested infilms, games, and television.

The Figure: Expression/Impressions andMovement DGMD312 2 creditsThis course is a creative exploration in drawingand painting the figure in various media. The classexamines quick sketch, figure invention, facialexpression, manipulation of facial structure todisplay various emotions and speech patterns,drapery and costume, long and short poses,portraiture, light logic, mood, and narrative.

Digital Art for Art’s Sake DGMD312 2 creditsStarting with a review of digital art and its variouscreators, students explore this world, and thenparticipate in it. From abstract to structuredpieces, this course examines various programs thatcan assist students to create pieces from still art,motion art, motion art with sound and music, andinteractive art.

Visual Effects: The Next StepDGMD313 2 creditsThis class explores visual effects (those done inthe computer) and special effects (physical effects)and how to combine them. Students investigatedigital mattes, models, lighting (in both the virtualand the physical worlds), and the interfacebetween physical and visual effects throughcompositing.

Film and Video TopicsDGMD315 2 creditsTopics courses are designed to take advantage ofthe specific areas of expertise offered by guestfaculty. This is a special topics course thataddresses issues in film and video. See departmentfor offerings each semester.

Film And Video Lab for Digital Artists DGMD315 2 creditsStudents learn the skills that are required formaking films and videos. They create concepts,storyboard them, set up a shoot, and then, inteams, shoot a number of projects. Students learnto log, capture, and edit their footage, and then tolayoff to tape for presentation.

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CourseDescriptions

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Digital Media

Directing for Film and Video DGMD315 2 creditsThis course covers the skills needed to direct live-action, computer-generated, or combination films.Students gain experience in directing people andscenes.

Editing Films and Video DGMD315 2 creditsIn this course, students learn to edit from a featurefilm editor. The techniques learned here may beapplied to feature films, documentaries, visualeffects, and computer animated films.

History and Techniques of VFX DGMD315 2 creditsIn this class, students explore the history of visualand special effects in Hollywood films. The classviews and discusses breakthrough movies, whichdemonstrated technological innovations in effects,and how they have impacted the motion pictureindustry. Both digital and analog effects areexplored. Film as art, art as communication, andeffects vs. story line are discussed.

Advanced Tools Workshop DGMD315 2 creditsThese workshops are intended for students with atleast 2 semesters experience with the applicabledigital tools. They extend students' technical andcreative skills with the tool chosen each semester.Maya and After Effects are some of the toolsoffered in these workshops.

Broadcast Design Topics DGMD316 2 creditsTopics courses are designed to take advantage ofthe specific areas of expertise offered by guestfaculty. This is a special topics course thataddresses issues in broadcast design. See depart-ment for offerings each semester.

Advanced Type Design for MotionGraphics DGMD316 2 creditsThere are many opportunities and constraints inthe world of motion. Type must be designed towork well in this specific environment. Studentslearn how to be creative and professional withtheir type designs as applied to motion graphics.

Broadcast Design Lab DGMD316 2 creditsThis is a workshop in broadcast design taught by a professional from the field. Students apply theskills they have learned to broadcast designprojects. Timing, emotions, and client relations,are among the topics presented in this lab class.

Design Concepts DGMD316 2 credits This vital class for motion graphics designerscovers concepts of design for still and motionwork.

Advanced Broadcast Design DGMD316 2 creditsThis class mimics the production environmentscommon to this field. Students produce manyquality concepts, animatics, revisions, andfinished projects for a number of different types ofprojects. Industry leaders participate and guide theprocess.

Audio Topics DGMD317 2 creditsTopics are designed to take advantage of thespecific areas of expertise offered by guest faculty.This is a special topics course that addressesissues in sound production. See department forofferings each semester.

Game Design Topics DGMD318 2 creditsTopics courses are designed to take advantage ofthe specific areas of expertise offered by guestfaculty. This is a special topics course thataddresses issues in game design. See departmentfor offerings each semester.

Game Design OverviewDGMD 318 2 credits Explore what you need to know about designinggames. Learn about the various jobs, what skillsyou need, and what the different skills are that arecommon to all game artists and unique to eachposition.

Game Industry: Production and Leadership DGMD318 2 creditsStudents investigate the features of video gamesthat make them successful in the marketplace.Students discuss these issues and exploreattributes of leadership in the game industry.

Game Development: Game Level DesignDGMD318 2 creditsUsing mod and emulators students create newlevels for existing popular games. Students learnby doing.

Game AnimationDGMD318 2 creditsVideo game animation has very strictrequirements. Students learn to mix creativity withobservations from life, as they meet the hardwarerestrictions of current game platforms, while theyrig and animate their characters.

Game Animation: AdvancedDGMD318 2 creditsStudents familiar with the basics of gameanimation and rigging apply their knowledge toadvanced projects.

Game Modeling DGMD318 2 creditsGame companies want to see what designers cando when they model people, vehicles, weapons,and other objects. Of particular importance formodelers is the ability to create a model of aneasily recognizable public figure.

Environments in 3DDGMD318 2creditsThis class will focus on digital sets andenvironments (i.e., architecture). At the end of thesemester, each student will have created images ofa carefully designed, meticulously lit and texturedenvironment. Topics covered will include: Asurvey of Renaissance and Baroque to ModernArchitecture, Architectural design principals,Efficient modeling techniques, and Lighting. Wewill cover how to set up custom passes and howto use them in your compositing

3D Modeling and Animation DGMD320 3 creditsHaving learned the basics, students now exploremethods that give life to the models they create oradapt from the College's extensive library.Animators and modelers learn about the uses andconstraints applicable to 3D in films, television,and video games.

3D for Motion Graphics DGMD323 2 creditsStudents learn how to create 3D elements formotion graphics projects. "Flying logos" are onetype of animation, but this course also exploresother forms of 3D animation that enhance designsand contribute to students' value in themarketplace.

Advanced 3D Animation: CharacterAnimation DGMD325 3 creditsBringing a character to life implies more thansimply making an object move. Expression,gesture, appearance, and reaction/response are alldetermined by personality and psychology. Thiscourse examines the traditional skills 2Danimators have long used to create life-likecharacters, and reveals the computer-generatedtechniques that are available today.

Robots, Props and Environments DGMD329 2 creditsRobots, landscapes, rooms, castles and otherenvironments are explored, along with theeveryday and fantastic things that make up aninvented world. Students create props,environments, and robots, with the feature film,television, and video games in mind. Reviews offeature films from Hollywood and around theworld are incorporated. Open to all majors.

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Visual Effects I/II DGMD330/331 3 credits/3 creditsStudents learn the methods for traditional visualeffects, under what circumstances they are stillused, and when today’s digital techniques havereplaced them. Morphing, resolution andresolution matching, working with layers, andwire removal are covered in the first semester. Inthe second semester, students use compositingtechniques and effects to weave synthetic objectsand characters into digital scenes. Post-productionuse of color timing, time code editing, digitalvideo effects, and effects editing are included.

Advanced Visual EffectsDGMD331 3 CreditsThis class will cover the 3D interface in Nuke,some effects animation, 3D Camera Projection in Maya, and the creation ofStereoscopy.

Master Class in Visual EffectsDGMD331 3 CreditsA study and investigation of the theories, theprocesses, and the business of Professional VisualEffects.

Storytelling in 30 Seconds DGMD333 2 creditsIn this course, students study the elements of goodnarrative. Stories from 30 seconds to 120 minutesin length share the same basic structure. In thisclass students learn the elements that contribute toa successfully engaging story. This knowledge isapplicable to a great many areas of their study.

Drawing Animals for Films, TV and GamesDGMD337 2 creditsAnimal drawing exercises are practiced with theentertainment industry in mind. Students takemany field trips to the zoo and other animalhabitats. Open to all majors.

Type and Design Fundamentals DGMD340 2 creditsStudents learn how to use typography effectivelyas a design element and how to control the detailsof its use, both hallmarks of good designers.Design principles learned in the foundation yearare reviewed as knowledge and experience in thisarea is extended.

Digital Matte Painting DGMD343 2 creditsThrough exploring and understanding its history,starting with the mail car scene from The GreatTrain Robbery, through the films of the ’40s and’50s, and winding up with contemporaryfilmmaking, students address the intricacies ofmatte painting. Exercises are done in practical anddigital matte painting.

Drawing for Feature Films DGMD345 2 creditsTraditional life drawing exercises, plus landscapesand other types of drawing, are practiced with thefeature film in mind. Reviews of feature filmsfrom Hollywood and around the world areincorporated. Open to all majors.

Advanced Motion Graphics Tools andTechniques Workshop DGMD346 2 creditsThis course assists students to extend theirexpertise in the program, After Effects. Studentsexplore various third-party plug-ins and thecapabilities of the AE Production Bundle.Students must have worked with After Effects forat least 2 semesters or have equivalent experiencein order to take this class.

Storyboarding for Features, TV and Games DGMD348 2 creditsStoryboarding is practiced as a tool for planningand making informed changes in digital work for film, games, and television. Students learn thebasics of storyboarding and its importance as atool of visualization. Students create characters,settings, and sequences to communicate clearlythe vision of their projects.

Basic Game Design I DGMD349 2 creditsStudents investigate concept development forgame design. This course explores thedevelopment and production of video games forthe industry. The course includes discussions withan industry leader. Students research currentlyavailable game titles and discuss their features toidentify their successful qualities.

Perspectives in Entertainment &TechnologyDGMD350 2 creditsThis course is a lecture series exploring all aspects ofentertainment and technology development and itsimpact on the visual and visceral arts. Differentsections are offered each semester, dealing with film,visual effects, type design, or other special topics.

Digital Design Principles DGMD352 2 creditsThis course focuses on basic design principles thatare useful in everything from filmmaking to motiongraphics to web design. Students learn the rules ofdesign; then they learn how to break them.

Motion Graphics For The Web DGMD355 2 creditsThe internet demands a different approach todesign than print or broadcast design. Design forthe web must take into account, not only the newmedium, but also concepts, goals, content, andintended audience. Students learn to bring life tothe web through instruction in Macromedia Flash,a variety of other tools, and their own creativity.

Basic Game Design II DGMD359 2 credits Students continue to explore concept developmentfor game design. This course focuses on thedevelopment and production of video games for theindustry. The course includes discussions with anindustry leader.

Real and Computer Generated LightingDGMD360 2 creditsThis course covers the basics of lighting in aclassroom environment, then extends thatinformation to the computer lighting of virtual sets,props and characters.

Digital Still Photography DGMD361 2 creditsThe basics of photography assist students withimproving their videography, computer generatedcompositions, and films. After briefly touching upon35mm photography, this course addresses theelements of good photography as applied to digitalphotography. Using both "prosumer" and professionalcameras, students learn to use all the manualfeatures of these new cameras to achieve a varietyof looks and effects.

Sculpture for Digital Artists DGMD367 2 creditsIn this class, students work with clay tounderstand the 3D form as it applies to computer-generated models, character design, and props.They create maquettes, hand-crafted 3D modelsthat animators reference when animating acharacter. Maquettes, along with model sheets,bring consistency to the production of an animatedcharacter when it is produced by differentanimators.

Advanced Sculpture for Digital Artists DGMD368 2 creditsStudents work with clay to understand the 3Dform as it applies to computer-generated models,character design, and props. This is the next stepfor those who have completed the beginningcourse or who have equivalent experience.Prerequisite: DGMD367 or equivalent experience.

Acting for Animators DGMD373 2 creditsSony Imageworks, ILM, and many other large andsmall production houses use "Acting forAnimators" classes to enhance their animatingskills. In this course, students learn to portraymovement and emotion in animated charactersthrough the method of acting out scenes.

Broadcast DesignDGMD380 2 creditsThis class explores the fundamentals of theory andstrategy behind broadcast design. Students learnthe characteristics of award-winning pieces thatare progressive in design but strategic inimplementation. Aspects of branding and clientcommunications are included.

Broadcast Design Rapid Projects DGMD380 2 credits This fast-paced environment will help you get out of the habit of cherishing each idea and intothe habit of coming up with an idea, refining it, producing it and moving on to new projects.

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NOTE: In the Springsemester of the Junioryear, students with agrade point averageof 3.5 or better areeligible to apply forDGMD399 HonorsProject, in lieu of oneof the other Juniorrequired courses.

Storyboarding for MotionDGMD380 2 CreditsIn this class we will develop the process ofstoryboarding for motion. Addressing, story arch, concept, composition, board flow,overall technique, and more. Also we will bedeveloping the designers voice and vision.

Honors Class DGMD399 2 creditsFor outstanding students who wish to explore their own projects in greater detail. This multi-disciplinary class will see a wide range of projectsand gain much from class critiques of their workas it progresses.

Senior Thesis DGMD400 4 creditsIn this course, students develop their own finalprojects. Class critiques help students developtheir own work, while learning from the creativeprocesses of their fellow classmates. Visitingindustry leaders take part in these critiquesessions. Students collect their work-ups fromdrawing classes, their storyboards, and other partsof the creative process, to be used as windows intotheir personal working styles. These pieces arethen used to develop the students' reels and are ofgreat value to future potential employers.

Thesis Preparaton DGMD402 3 creditsIn this class, students are given the time to workon developing their senior projects. Storytelling,storyboarding, and other issues are discussed inrelationship to students' personal or groupprojects. Critiques are a vital part of this processand assist the students in understanding their owncreative processes, as well as those of theirclassmates.

Senior Business Seminar I: CareerPlanning & Personal Management DGMD410 2 creditsThis course provides a practical introduction toskills for acquiring and keeping a job, as well asthe processes for developing a freelance business.Students learn presentation techniques andpractical business concepts, from accounting andpersonal finances to business communications andnetworking.

Senior Business Seminar II: CareerPlanning & Personal Management DGMD411 2 credits Continuing from the first semester, students learnmore about job availability. They practiceinterviewing techniques, write a professionalresume, and document and organize their work tocreate appropriate reels and portfolios, with thegoal of packaging and presenting themselves toemployers.

Industry Internship DGMD425 2 creditsStudents may apply for internships or equivalentwork experience in one of the digital mediaindustries. The department, along with the Officeof Career Services, assist students in locatingappropriate internship positions. These internshipsassist students in gaining the work experience andindustry contacts necessary for job placementupon graduation.

Traditional AnimationDGMD428 3 creditsLearn how to do traditional animation to help your3D animation. Our teacher will introduce you tothe history of animation from Emile Kohl toWinsor McCay, Betty Boop and more and then onto Disney, Hanna Barbera, Osamu Tezuka, andHiyao Miyazaki. From there you will study indepth the principles of animation and theprinciples of animation as applied to computeranimation. A must for serious CG animators.

Practicum in Media Technologies DGMD430 3 credits"Software is not important. Your skill and talentsare. If you are good in one program, you're goodin another." This quote by distinguished lecturer,Glen Campbell of Area 51, is quite accurate.While students work a great deal with manyprograms, their value to employers comes fromtheir skills as artists and designers, coupled with their "people skills." In this course, studentsextend their skills in creating pieces that show offtheir talents.

Methods and Materials DGMD437 2 creditsStudents receive in-depth instruction in the use ofpencils, markers, watercolor, pastels, and mixedmedia. Techniques are applied to landscapes,costumes, vehicles, and a variety of other subjects.

Advanced Tools and Techniques DGMD440 3 creditsStudents extend their expertise and knowledge inone of these areas: motion graphics, characteranimation, filmmaking, or visual effects.

Visiting Artists SeriesDGMD444 2 creditsThis is an ongoing, ever-changing class created toshare the expertise, experience and interests ofsome of the world's foremost talents in digital art,design, and storytelling. See department for coursedescription each semester.

Advanced Concept Development DGMD450 2 credits This course develops the creative and problem-solving skills needed to be an effective artist anddesigner. Whether students are interested in 3D,visual effects, video game development, or motiongraphics, they learn techniques for overcomingcreative block. Students learn the skills needed toeither lead a team or participate as a effectivemember of a creative team.

Independent Study DGMD999 1-6 credits Independent studies provide an opportunity forstudents to work closely and collaboratively withfaculty on assignments that extend the scope oftheir current interests, or expand their expertise.Applications for independent study projects arereviewed and approved by the department chairbased on proposals submitted by interestedstudents.

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DepartmentFaculty

Harry MottChairMFA and MBA USC Peter Stark Motion PictureProducers Program. Speaker, writer, designer formotion graphics, animation, education, art anddesign industries. Education Director for theAmerican Film Institute’s Advanced TechnologiesTraining Division. DV Expo Conference Chair.Freelance designer and producer of motiongraphics, visual effects and web sites. MemberL.A. SIGGRAPH and BDA-Broadcast DesignersAssociation.

Art DurinskiAssistant Chair, Associate ProfessorMFA and MA UCLA. BFA Univ. of Illinois.Motion Graphic Designer/Director, Visual EffectsSupervisor, Computer Animation Director. Clientsinclude: Sony Corporation, Sega Enterprises,Toyota, Bridgestone Corporation, Walt DisneyCorporation, New Line Cinema, Dentsu, and 20thCentury Fox.

Orrin AndersonSenior LecturerDesigner, director, photographer, animator, artdirector, and drummer. Recent client is Mattel.

Jake BanksLecturerFounder and Executive Creative Director ofStardust Studios, an award-winning creativeproduction company, specializing in motiondesign, animation, visual effects and live-actionproduction

Laura BarberaSenior LecturerMFA (Computer Graphics and Animation), MFA(Painting and Printmaking) Pratt Inst, BFA(Photography) Brooklyn College. 3D Characteranimator, photographer, artist and improv actress.Entertainment work includes more than 25commercials, ten films, and seven TV shows withEmmy and Clio awards and nominations.

Robert CoddingtonSenior LecturerAttended Academy of Art College withconcentration in animation. Animation andCinematic Director at Electronic Arts. Has workedon titles such as the “Medal of Honor” series,“Tiberium,” and “Knock Out Kings.” Author ofthe Gnomon instructional DVD “Animation forGames with Robert Coddington.”

Tracy ColbyAssociate ProfessorMFA Syracuse Univ. Clients include SIGGRAPHTraveling Art Show II, “Drei Maler aus denUSA”, and Spannungen.

Chris T. DoAdjunct Associate ProfessorBFA Art Center. Creative Director and Founder ofBlind Studio. Clients include Saatchi & Saatchi,Toyota, Deutsch, Mitsubishi, Wieden & Kennedy,Nike, TBWA Chiat Day, and Nissan.

Chris D. Do Senior LecturerBFA (Digital Media) Otis. Co-Owner and Co-Founder of Fulltank, a creative company of artistsof diverse backgrounds in print, illustration,typography, photography, cell-animation,storytelling, and directing. Has worked withprominent studios, companies, and designers suchas: Christopher Wargin, Smog and WesternImages, Digital Kitchen, and Stardust, andagencies such as Crispin, RPA, BBDO, JWT,Ogilvy & Mather, Young & Rubicam, Wieden &Kennedy, Chiat/Day, Fallon, Campbell-Ewald,Saatchi & Saatchi, and Believe Media.

Bob DobbieLecturerBFA (Illustration) Otis. Clients include FoxFamily Channel, Aflac, Kraft, Intel, The VillageVoice, American Airlines, Southwest Airlines,Random House Publishing, and numerouseditorial magazines.

Keith DowneyAssociate ProfessorBA and MFA, Cal Arts. Associate Professor ofmotion graphics, 3D and video art.

Chris EckhardtAssociate ProfessorOwner of 3D/Visual Effects Company. Filmsinclude “Galaxy Quest,” “Metal Gold,” and“American Outlaws.” Commercials include HotJobs “Super Bowl Spot,” and Sun Microsystems.Music Videos include the Red Hot Chili Peppers,Britney Spears, Papa Roach, Ricky Martin,Backstreet Boys, AeroSmith, Korn, and JenniferLopez.

Bill EckertProfessorMFA San Diego St. Univ. Clients include RupertMurdock, Marvin Davis, Don Henly of theEagles, Dick Clark Production, Entertec, andStrand Century/Rank Xerox. Currently workingon the historic renovation of Green Acres, BeverlyHills. Shows include Artists Look at Hollywood.

Jennifer EggerAssistant ProfessorBFA Otis. Graphic Designer. Clients include TimeWarner Inc., Price Waterhouse, Disney Publishing,and Disney Consumer Products.

Glen EisnerSenior LecturerAA, San Joaquin Delta College. Other trainingincludes, Dick Smith: Advanced ProfessionalMake-Up Certification, and Taro Yashima’sMethod of Painting. Emmy Award WinningFreelance Sculptor/Make-Up Designer/Puppeteer/Illustrator for television programs suchas Buffy, Babylon 5, and the X-Files. Feature film credits include 300, The Passion of Christ,The Mask of Zorro, The Nutty Professor, BatmanReturns, Terminator 2, Exorcist III, Gremlins 2.Also holds California Art Club honors.

Brian EunSenior LecturerAttended Center for Creative Studies-College ofArt and Design majoring in transportation designcurriculum. Freelance toy and entertainmentdesigner, past experiences include working asconcept design illustrator for MainframeEntertainment on CG cartoon shows “Reboot,”“Beast Wars,” “Weird-Oh’s,” and product conceptdesigner for Kenner Toys/Hasbro Toy Group,working on boy action properties such as G.I. Joe,Jurassic Park, Microverse, and Superman.

Andrew FosterLecturerBFA Art Center. Exhibiions at Earl Groupexhibitions at McGrath, West Hollywood; RobertBerman, Santa Monica; George Billis, CulverCity; Solaris, West Hollywood. Group exhibitsinclude Jonathan Levine, New York and MerryKarnowsky, Los Angeles; Santa Monica Museumof Art, Santa Monica. Published in New AmericanPainters #85.

Gary GerathsProfessorBFA Cal St. Univ. Long Beach; MFA ClaremontGrad. School. Clients include Disney, Mattel andmany film production companies; sketch artist forthe OJ Simpson criminal trial. Exhibited bothnationally and internationally.

Lewis HallSenior LecturerBFA, Theater, Film & TV, UCLA. Emmy andAcademy Award-winning writer and producer withan extensive background in filmmaking and design.Produced five award-winning educational films,including the animated documentary, “Anti-Matter.”Has served as design director for CBS Entertainment,senior art director for Novocom. Clients includeCBS, NBC, RTL Germany, BskyB in the UK, StarTV, Channel Corp in Saudi Arabia, and Channels 5,8, and 12 in Singapore. Currently completing a novel,writing DVD games, and developing an interactivevocabulary program for middle school students.

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Chip HoughtonSenior LecturerB.S. School of Communications, Boston Univ.Co-Founder of Imaginary Forces—a multi-disciplinary entertainment and design companybased in Hollywood and New York. Has extensiveexperience in Executive Producing and in Digitaland Special Effects. Notable film and televisioncredits include “Seven,” “Spider-Man,” “Band ofBrothers.” Major clients include Sony, Disney,IBM, Nike, Universal Studios, and The Museumof Modern Art.

James HuangSenior LecturerBFA (Graphic Design)—Univ. of the Pacific, BFA Art Center. Motion Graphics Designer, GameDesigner. Earned a Hollywood Reporter Key ArtAward and Golden Trailer Award. Credits include;“Blades of Glory,” “Grindhouse,” “ForgettingSarah Marshall,” “Hellboy II,” “Spider-man 2,”“The Hitchhiker’s Guide to the Galaxy” and“Hairspray.” Has worked with; 20th Century Fox,Paramount, Columbia, Universal, Newline,Warner Bros, Lionsgate, Focus Features,Dimension and Miramax Films.

Casey HuntLecturerBFA (Otis). Partner in directing collective ThreeLegged Legs, with two other Digital Mediaalumni. Produces visual effects projects andanimations. www.threelegedlegs.com

Stephen JarrettLecturerBA (Computer Science) Oxford Univ. DesignDirector, Namco/Badai. Director of Game Designat Disney 2005-2008, Creative Director at THQ2002-2005. Stephen managed the creative visionof all Nickelodeon and Pixar titles and helpedturn the brands into one of THQ’s most successfullicenses. As a lead designer Stephen wasresponsible for helping kick off the Harry Potterfranchise with Harry Potter and the SorcerersStone and Harry Potter and the Chamber ofSecrets. Two of the biggest selling games of alltime on the Playstation. Stephen started his careerworking under Peter Molenuex at Bullfrog helpingdesign titles such as Syndicate Wars, ThemeHospital, and Dungeon Keeper

Kate JohnsonAdjunct Associate ProfessorPresident of EZTV. Clients include the GettyCenter, Politically Incorrect, Seagrams America,Faye Dunaway, and the Watts Tower CulturalCenter.

Doug JonesSenior LecturerBFA Otis. Creative Director of Ratched Graphicsat Asylum Entertainment, a Emmy nominatedcompany that has produced and developed closeto 350 hours of television for networks such asABC, HBO, MTV, BET, E! Entertainment,Discovery, A&E, TLC, ESPN, and Fox SportsNet. Experience in Animation, Storyboarding, Art Directing, and Freelance Broadcast Design.Credits include; “American Gangster,” “TheForbes Celebrity 100: Who Made Bank,” “Men inBlack,” “Top 20 Women in Entertainment,” “WhoWants to be a Millionaire,” and “Gilmore Girls.”

Kory JonesSenior LecturerExecutive Producer, Creative Director, and Co-Founder of Reality Check Studio in Hollywood,a company that develops innovative graphics,games, animation, visual effects, websites, andinteractive projects. Visual Effects and Animationcredits include “Star Wars Episode 1,” “BehindEnemy Lines,” “Spiderman II,” “The Messengers,”“The Grudge 2,” “Harold and Kumar Go ToWhite Castle,” “Jersey Girl,” “The Grudge,” and“Titan A.E.” Other projects include the redesign ofESPN’s in game graphics for NFL, NBA, MLB,College Football and College Hoops, CBS Sports,NFL Networks, CCTV China and Sky Italia.

Tim JonesSenior LecturerSenior Animator, Lead Modeler and Artist atKnowledge Adventure. Projects include:Jumpstart World, Math Blaster, Barbie Swan Lake,Jurassic Park Scan Command, Dear America,American Idol, and Barbie Fashion Show.

Steve JungLecturerAttended Art Center. Co-founder, Red EngineStudios. Feature animation, themed enterainment,video games and live action films forDreamWorks, Universal, Disney and Marvel.Member, Directors Guild.

Jeff KaisershotSenior LecturerMFA. BFA (Fine Arts) UC Santa Barbara.Specialties in Digital Animation and Media inMotion. Editor, Fine Art Artist, Artist, andDesigner. Clients include: LA Eyeworks, Disney,Showtime, Warner Bros., NBC, and GRP Records.Fine Art Exhibitions include Robert BermanGallery, Contemporary Exhibitions (LACE),County Museum of Art, Bliss, Patricia CorreiaGallery.

Siri KaurSenior LecturerMFA Cal Arts, MA and BA, Smith Coll. Exhibitedphotography at 401 Projects, N.Y.; HayworthGallery, L.A.; Torrance Museum of Art, andUCLA Wight Biennial. Permanent collection ofNational Gallery, D.C. and Univ. of Maine.

Ben KerrSenior LecturerMFA (3D Animation) Acad of Arts Univ, BAIndiana Univ. Character Animator at Sony PicturesImageworks, Walt Disney Animation, and Rhythm& Hues. Projects include: “Cloudy with a Chanceof Meatballs,” “Bolt,” “The Golden Compass,”and “Alvin and the Chipmunks.”

Cecil KimSenior LecturerBFA(Illustration) Art Center. Concept Artist,Storyboard Artist, and Illustrator. Videogameindustry experience. Currently working asEnvironment Lead Concept Artist, Sony ComputerEntertainment Santa Monica Studio since 2000.One of the main developers for “God of War”franchise. Worked on films “Final Fantasy IX,”and “Parasite Eve.”

Rebecca KimmelSenior LecturerBFA Art Center (Illustration), MFA George MasonUniversity (Digital Art). Accomplished instructorof figurative art, digital painting and traditionaldrawing. Creator and moderator of online forum"Artistic Anatomy & Figurative Art" onCGSociety.org. Animation and set piece design forlive performance, New Media PerformanceStudio, Harris Theatre, Center for the Arts.Animations featured in Live Movies: A FieldGuide to New Media for the Performing Arts.

Bryan KoszoruSenior LecturerBS (Advertising) Univ. of Florida. SeniorEnvironment Artist at Sony (SCEA) and AmazeEntertainment. Game Projects include: God ofWar III, X-Men Origins: Wolverine, Indiana Jonesand the Staff of Kings, Call of Duty: Roads toVictory, and Pirates of the Caribbean 2:DeadMan's Chest.

Wonhee LeeLecturerBFA Otis. Animation director/designer for Coke,Nike, Apple, MTV, NBC, FOX, Honda, Pepsi andmusic videos. He is working as a director/animation director at various agencies and studiosworldwide and is represented by The Institutealongside Michael Bay and Rob Cohen. Awardsfrom BDA, Type Director’s Club, The ArtDirector's Club and has been featured in Stash,Boards, Animation Magazine and various bookpublications.

John LePrevostSenior LecturerBFA Univ. of Arizona. Emmy awards forcomputer animation

John LivesayLecturerLivesay made his professional comic book inkingdebut in 1994 with Prototype #13 and Excalibur#82. Career highlights include “The Flash,”“Legion of Superheroes,” “Spider-Man,” and “X-Men.” Currently inking "Doom Patrol" for DC Comics

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Debra MagitSenior LecturerBA Loyola Marymount. Actor/Acting Teacher.Clients include UCLA Extension, Raytheon.

Marilyn McLaughlinSenior LecturerMFA Acting, UCLA; CLMA, IntegratedMovement Studies. BFA Dance, University ofUtah. Marilyn’s performing arts career had abroad and colorful range—from performing in theFrank Zappa production of “A Zappa Affair” to aseries of full length solo cabaret performances, towriting music and acting in stage productions withTen Thousand Things Theatre Company,presenting classical theatre for nontraditionaltheatre audiences. She also toured professionallywith Tandy Beal and Company.

Izzy MedranoSenior LecturerBFA Art Center. Character and Creature ConceptArtist at companies such as Sony Entertainmentand SCEA Santa Monica. Also a PublishedIllustrator for games developed by Neversoft.Paints frequently for Wizards of the Coast.

Kathleen MilnesAdjunct Assistant ProfessorBA(American Studies) Univ. of MD. Senior VicePresident of Workforce & EconomicDevelopment, Entertainment IndustryDevelopment Corporation.

Raul MorenoAssociate ProfessorBArch So Ca. Inst. of Architecture. Worked withTrailer Park, Banned from the Ranch. Filmsinclude “Austin Powers 2,” “Mod Squad,” “BigDaddy,” “GO,” and “8mm,” “Entrapment,”“Enemy of the State.” Effects artist, “Dr. Dolittle.”

Jan NagelSenior LecturerBA (Journalism) Cal State L.A. Marketing,advertising, public relations, businessdevelopment. Major clients include, Rhythm andHues, Jadooworks Animation Studio, US ArmyRecruiting, Hughes Aircraft

Joddy NicolaSenior LecturerCertificate of Fine Arts, Character Animation.Animator, Director, Writer. Owner of HijinksAnimation. Has worked with Jim Keeshan StudioAnimatics. Clients include Disney and WarnerBrothers.

David NicksaySenior LecturerBA, Hampshire Coll. Film producer with visualeffects experience. Has produced more thantwenty films, and is currently Executive Producerof “Surrogates,” a science fiction detective filmstarring Bruce Willis, to be released in 2009 byWalt Disney pictures. Nicksay was most recentlyExecutive Producer of “Step up 2 the Streets.”Former positions: President, Morgan CreekProductions; Sr. VP, Paramount Pictures; AssistantDean, Ringling Bros Clown College. Additionalcredits include “Legally Blonde 2,” “Agent CodyBanks,” and “Married Life.”

Nathan OtaAdjunct Associate ProfessorBFA Art Center College of Design. FreelanceIllustrator. Clients include Saatchi & Saatchi, WallStreet Journal, Chicago Tribune, New York Times,U.S. News & World Report, Jazz Iz Magazine,Capital Records, House of Blues Music Co.,Virgin Interactive-Entertainment, ImagoRecording Co., 2-13-61 Publications.

Jung Ho ParkSenior LecturerBFA (Illustration) Art Center. Senior ConceptDesigner at Sony (SCEA). Projects include: Godof War III, Tabula Rasa, Lineage Forever, Aion,Mortal Kombat, NFL Blitz, and Strangehold.

David SantiagoLecturerMSEE (Microwave Systems/Electrophysics) USC,BSEE Univ of Texas. Specializes in pipeline andstudio design and organization. VFX Supervisor,CG Supervisor, Effects Department Head, FXSupervisor, and VFX and Animation Consultant,for “The Ant Bully,” “Sky Captain and the Worldof Tomorrow,” “Master and Commander,” “BlackHawk Down,” and “Titanic.” Author Creating 3DEffects for Film, TV and Games.

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Bill SneedLecturerBFA (Digital Media) Otis. Bill Sneed is afreelance illustrator/ animator who recently movedback from London and is currently working in LosAngeles. For the last two years, he has directedshort films for the BDA presentation showcase20/120.

Carly StewardLecturerMFA Cal Arts, BFA Otis. Armory Center for theArts Fellowship. Exhibited at Soil, Seattle; AnnaKustera Gallery, N.Y.; AndrewShire Gallery, L.A.;LACE L.A.; Atelier als Supermedium, The Hague;Caren Golden, N.Y.; and Gavin Brown'sEnterprise, N.Y.

Richard “R.T.” TaylorAdjunct Assistant ProfessorComputer Graphics Technical Director. Clientsinclude Alaias|Wavefront, ILM, Rhythm andHues, Sony, NASA, IBM, Charles Eames, ABC,CBS, NBS, CBC, TF1, HBO, 20th Century Fox,Universal, Columbia, Paramount, Warner Bros.,Technicolor, Exxon, ESSO, Chevrolet,Volkswagen, Ford, Kawasaki, USC, Cal Arts,Academy of Art, and CSULB.

Christian VolquartzLecturerBA (Film and TV Production) Loyola MarymountUniv. Vice President, Operations, for McCartneyMultimedia, Inc., a local based media companythat specializes in web design, social mediaadvertising, and traditional video/print advertisingand marketing. Current and former clients include:Lexus, Chevrolet, MGM Mirage, Boutique.

Darnell WilliamsLecturerRuns ELEKTRSHOCK, an animation boutiquethat focuses on realtime motion capture, characteranimation, and game engine display. Artdirector/graphic designer/illustrator for SoftImage,Disney Imagineering, Digital Domain, NVidia,and Square.

Michael WrightProfessorBFA Univ. of Wash. Shows include WYSIWYG(What You See is What You Get), “I Be Am”, LAPrintmakers Invitational, Featured in Computer &Visual Arts.

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The Fashion Department prepares students from diversebackgrounds to be fashion innovators by providing aprofessional environment in which students learn by working in tandem with top designers. Students in theFashion Design Department will:

Fashion Design

• Expand and perfect their artistic skills tosupport and enhance their future designcareers.

• Learn necessary technical skills related toclothing construction.

• Develop a systematic, critical approach toproblem solving at all levels of thedesign process.

• Acquire extensive professionalinformation regarding fashion design.

• Demonstrate professionalism by meetingdeadlines, effectively collaborating inteams, and working with professionaldesigners.

• View fashion design in a broader socioeconomic, historical, and environmentalcontext.

• Successfully articulate design ideasverbally, visually, and digitally.

DegreeRequirements

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Fashion Design


Sciences section.

Sophomore Year Fall SpringFSHD200/201 Sophomore Studio I/II 3.0 3.0FSHD210/211 Fashion Illustration/Intro to Design 3.0 4.0FSHD220/221 Pattern Drafting I/II 2.0 2.0FSHD225 Sophomore Digital Design I –— 1.0FSHD230/231 Model Drawing I/II 2.0 2.0ILML 200 Integrated Learning Lecture –— 3.0AHCS220 Contemporary Perspectives in Art and Design 3.0 –—ENGL202 Sophomore English 3.0 –—NSCI311/312 Textile Science I/II 2.0 2.0Total Credits per Semester 18.0 17.0

Junior Year Fall SpringFSHD300/301 Junior Studio I/II 5.0 5.0FSHD312/313 Fashion Illustration III/IV 1.0 1.0FSHD324/325 Digital Design II/III 1.0 1.0FSHD330/331 Model Drawing III/IV 1.0 1.0FSHD360/361 Fashion Design I/II 3.0 2.0FSHD375 Apparel Manufacturing Practices –— 1.0AHCS370/371 History of Costume I/II 2.0 3.0

*Advanced Topics in English or 3.0 —–Liberal Studies Elective

*MATH 136 Math for Artist & Designers –— 3.0


Senior Year Fall SpringFSHD400/401 Senior Studio I/II 6.0 6.0FSHD412/413 Fashion Illustration V/VI 1.0 1.0FSHD425 or FSHD426 Digital Design IV or Digital Portfolio 1.0 –—FSHD430 Model Drawing V 1.0 –—FSHD460 Fashion Design III 3.0 –—FSHD470 Marketing 1.0 –—FSHD475 Portfolio Development –— 2.0*AHCS 310 Art History Elective –— 3.0*LIBS440 Senior Liberal Studies Capstone 3.0 –—*SSCI210 Social Science –— 3.0

Total Credits per Semester 16.0 15.0*These courses may be taken in either the fall or the spring semester.Note: Some students may be required to take ENGL400 Great Speeches as determined by the School of Fashion Design.

Important note: All students must pass with a “C” grade or better in studio, design and illustration at all levels in order tocontinue with the fashion program. Working with a mentor is considered an earned privilege, not a right; therefore,students are required to maintain a “C+” g.p.a. in design and studio throughout the design process in order to work with amentor.

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Sophomore Studio FSHD200/201 3 credits/3 creditsStudents develop patterns by draping muslin on dress forms, and producing basic garmentconstruction and finishing. Students interpret andcreate three-dimensional design ideas.

Fashion Illustration/Introduction to Design FSHD210/211 3 credits/4 creditsStudents create a variety of figures as a basis forprofessional design sketches and develop skill indrawing technical flats. Advanced rendering,presentation techniques and introductory designcomprise the second semester.

Pattern Drafting I/II FSHD220/221 2 credits/2 creditsUsing current garment industry techniques and procedures, students create patterns from blocks,body measurements and specifications, makecorrections in fit and appearance, and completecustom garments and patterns reflecting theirindividual style.

Sophomore Digital Design FSHD225 1 creditUsing the Macintosh computer, students areintroduced to basic computer practices, internetusage, digital terminology and related computerequipment including the scanner, printer, and theWacom tablet.

Model Drawing FSHD230/231 2 credits/2 creditsStudents draw from live male and female modelsto develop an awareness of the proportions andmovement of the elongated fashion figure whilemaintaining correct anatomical structure.Additionally, this course explores the visualizationof various fabrics and garments on the figure.

Junior Studio I/II FSHD300/301 5 credits/5 creditsStudents focus on sewing and constructiontechniques of "moderately-priced" garments. Thiscourse provides practical application of draping,sewing and pattern drafting. Visiting mentorsguide and critique students' designs onprofessional models during fittings. Students learnthe design creation process from interpretation oforiginal sketch to finished garment. Prerequisite: FSHD200/201 Sophomore Studio I/II.

Fashion Illustration III/IVFSHD 312/313 1 credit/1 credit This course works in conjunction with Design.Emphasis is placed on developing an organizedapproach to create effective illustrations in orderto meet mentor problem deadlines. Second-semester work explores advanced drawing,painting, marker, and digital techniques inpreparation for senior year. Prerequisite: FSHD211 Fashion Illustration/Intro toDesign

Digital Design II/IIIFSHD 324/325 1 credit/1 credit This cours works in conjunction with JuniorDesign. Students advance their use of digitalknowledge by combining Adobe Photoshop,Illustrator and Streamline, and they utilize theseskills in creating their design sketches for mentorproblems.Prerequisite: FSHD225 Digital Design I

Model Drawing III/IV FSHD330/331 1 credit/1 credit This course further explores the fashion figurewith focus on improved gesture, line quality, andaccurate observation of clothing proportion andshape. Prerequisite: FSHD 231

Fashion Design

NOTE: Studentscollaborating withmentors may berequired to returnback one weekearly from Winterbreak, as well as apossibly workingover Spring break inorder to participatein the ScholarshipBenefit Show.

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Fashion Design

Fashion Design I/II FSHD360/361 3 credits/2 credits Professional designers present design problems tobe solved within the "moderately priced" market.Students develop ideas based on specificdirection, fabric, color, etc. Sketches for garmentsare edited and critiqued under the guidance ofprofessional designers. The spring semesterfocuses on the study of higher-priced apparel inpreparation for senior level work. Prerequisite: FSHD211 Introduction to Design.

Apparel Manufacturing Practices FSHD375 1 creditLectures by fashion industry professionals andfield trips supplement this survey course thatexplores all aspects of the apparel manufacturingprocess outside the realm of the design room.

Senior Studio I/II FSHD400/401 6 credits/6 creditsThis course provides practical application ofdraping, classic tailoring, and couture sewing andfinishing techniques based on the higher priced"designer" market. Students learn the designcreation process, from original sketch to finishedgarment. Visiting mentors guide and critiquestudents’ work on professional models duringfittings. Prerequisite: FSHD300/301 Junior Studio I/II.

Fashion Illustration V/VIFSHD412/413 1 credit/1 creditThis advanced illustration class further developsstudents' professional illustration skills for higher-priced apparel. Students produce designersketches with more complex fabric renderings andlayering of garments, capturing a look appropriateto the mentor’s direction. Prerequisite: FSHD 313 Fashion Illustration IV

Digital Design IVFSHD425 1 creditAdvanced digital course in which students create agroup of technical flats in Adobe Illustrator as thebasis for a digital collection to be included in theirportfolios. Topics include flats, line sheets, fabricsamples, repeat patterns, experimental croquistechniques, type, and layout. Prerequisite:FSHD325 Digital Design III

Digital Portfolio FSHD426 1 creditThis advanced elective course utilizes andexpands students' knowledge and application ofdigital skills applicable to their final portfolio. Prerequisite:FSHD325 Digital Design III

Model Drawing VFSHD430 1 credit Students in this advanced drawing course developa personal style through exploration ofprofessional techniques and a variety of media.The second semester focuses on issues that pertainto portfolio development. Available to non-majorswith department Chair approval. Prerequisite: FSHD330/331 Model Drawing III/IV.

Fashion Design III FSHD460 3 creditsStudents design clothing alongside professionaldesigners representing higher-priced apparel.Emphasis is placed on integrating classicism andoriginality, and using fine fabrics, finishing, andconstruction techniques, as well as producingdesign work on the same seasonal schedule as thefashion industry. Prerequisite: FSHD360/361 Fashion Design I/II.

Marketing FSHD470 1 creditThis lecture course explores the partnershipbetween wholesale manufacturers and retailerswhen marketing a fashion product. The latter halfintroduces job search strategies in preparing forsuccessfully entering the workplace.

Portfolio Development FSHD475 2 creditsThis course focuses on the development of aprofessional designer portfolio. Students target aspecific area of interest for employment andproduce groups with concept boards, color story,fabrics, trims, illustrations and technical drawingsfor each. This course culminates with a portfolioreview and critique by manufacturers. Prerequisites: FSHD460 Fashion Design III andFSHD412 Fashion Illustration V

CourseDescriptions

72

Independent StudyFSHD999Independent studies provide an opportunity forstudents to work closely and collaboratively withfaculty on assignments that extend the scope oftheir current interests, or expand their expertise.Applications for independent study projects arereviewed and approved by the department Chairbased on proposals submitted by interestedstudents.

Labs

The following lab classes may be required if astudent's work does not meet the standards set bythe department:

Construction LaboratoryThis non-credit period is open to all students who need additional help in draping, pattern drafting, tailoring, or sewing.

Illustration LaboratoryThis non-credit period is open to all students who need additional help in drawing and rendering.

Design LaboratoryThis non-credit period is open to all students who need additional help in design.

Fashion Design

DepartmentFaculty

73

Fashion Design

Rosemary BrantleyChairBFA (Fashion Design) Parsons School of Design.Student Designer of the Year. Founding Chair OtisFashion Design Department. Designer for KasperJoan Leslie-NYC, Jaeger of London, RosemaryBrantley for Staples- Los Angeles 1980 to present.Recipient of L.A. Fashion “Inspiration” Award,2005.

MariBeth BalogaAssistant Academic Chair, ProfessorMFA (Textiles) Indiana Univ., BS (Art Ed.) KentState Univ. Textile instructor 1975 to present atBrooks College, Otis, FIDM, and UCLAExtension. Past Chair of the Textile DesignDepartment, FIDM. Exhibiting fine artist.

Jill Higashi-ZeleznikAssistant Design Chair, Professor BFA (Fashion Design) Otis. Freelance designer forTommy Bahama and Bugle Boy. Design Directorfor Carole Little, Motherhood, Saint Germain.Head designer for Shryan, Theodoie, and BronxClothier's.

Susan BakerProfessorBA (English Literature) CSU Dominguez Hills,AA Degree (Fashion Design) LA Trade Tech.Coll. Involved in all phases of commercialmanufacturing in the LA fashion industry since1969.

Aiko BeallProfessor AA (General Education) Pierce Coll., Certificatewith honors Parsons School of Design, DiplomaOsaka Costume Art School, Diploma YodogawaFashion Design School, Degree (Aesthetics,Ikebana) Misho-Ryu. Student assistant inChristian Dior design studio, N.Y. AssistantDesigner for Jacque Tiffeau N.Y., Jean LouisL.A.; Assistant to costume designers for ABCdaytime TV “General Hospital.” Designer forEmmys. Faculty member since 1979.

Eddie BledsoeSenior LecturerMFA (Theatrical Design) USC; BS (FashionDesign) Woodbury Univ., BA (Design) UCLA.Menswear and costume designer for film andtheatre. Published work includes “Art +Performance, the Life of Reza Abdoh.” Designsarchived in the Reza Abdoh Collection, NY PublicLibrary. Recent design honors include New YorkFilm Festival, “Rocket's Red Glare;” Los AngelesIndependent Film Festival, “No Easy Way;” TheVienna Festival, “Quotations From a RuinedCity.”

Brice Bowman Adjunct ProfessorMA CSU Sacramento; BA Cal St Univ S.F.Exhibits nationally and internationally.

Jackie DoyleProfessorBFA Art Center. Winner of the Rudi GernreichAward from the NY Art Director' Club. Illustrator,the Neiman Marcus advertising department forValentino, Chanel.

Jane EngelmanTextile and Resource SpecialistSenior Lecturer.BFA (Fashion Design) Otis. Perry Ellis ThimbleAward.BFA Textile Design, University of Iowa,1986. Teaching Credential Art K-12.

Rosi GablLecturerSchool of Art and Design Diploma (Dressmakingand Fashion Design) Basel, Switzerland; studiedfashion illustration at Central Saint Martin'sCollege of Art and Design, London. Best of RosiWeb Site.

Kathryn HagenProfessor MFA (Fine Arts), BFA Otis; Certificate (Fashion)Parsons School of Design; studied painting at theArt Student's League. Artist and freelanceillustrator. Author of Fashion Illustration forDesigners and Garb.

DepartmentFaculty

74

Farnaz HarouniLecturerBFA (Fashion Design) Otis. Winner of the NolanMiller Thimble Award and the Rudi GernreichNational Design Award. Published in Vogue,Women's Wear Daily, California Apparel News.Designer for Tadashi, Kellwood, Guess. Eveningand bridal designer and founder of FarnazCouture.

Morrison JacksonSenior LecturerMFA (Theatre Design) USC; BFA (TheatreDesign) and BA (Fashion Design) Stephens Coll.Assistant designer and patternmaker specializingin sportswear. Costume Designer and technician.Manager of 20th Century costume rental company.Cutter/draper and tailor's assistant for featurefilms, television and theatre.

Paul KengSenior Lecturer BFA Otis. Fashion Designer/MerchandiserM.I.L.K.Y., Heaven Knows, Reality Check Inc.,MZM Sport; Maxi Modo; Waters & Waters;Motherhood Maternity; TD4 Inc.

Evelyne Poghosyan KhanyanLecturerAA Atex 1997, Armenia. BFA Otis (FashionDesign) 2001, Winner of Gold Medal, SamsungInst, Seuol, Korea; FGI Rudi GernreichScholarship; Finalist, Onward Koshiyama, Tokyo.Created Evelina Galli clothing line.

Karolyn Kiisel ProfessorStudied at UCLA and UC Berkeley (TheatricalCostume Design). Industry designer for theater,film and television. Intimate apparel andchildren’s wear designer. Designer for and ownerof Jacaranda, specializing in contemporary dresses.

Gail KnierimAssociate ProfessorDiploma (Art) Royal Melbourne Inst. ofTechnology. Head designer for Australian fashionhouses and private couture clientele in L.A.

Sumi LeeAssociate Professor BFA (Fashion Design) Otis. Freelance designer forspecial occasion dresses. Illustrator for costumedesigners. Head designer for Esquire, assistantdesigner for Glen Williams.

Amanda B. LinderAssistant Professor BS (Fashion Design) Syracuse Univ. Experiencedin flat pattern drafting, draping, technical drawing,illustration, clothing reproduction with completesewing, construction, alterations and fitting.Specializes in costume design for feature films,television and theatre.

Bill MartinezLecturerBFA (Fashion Design) Otis. Nancy Heller thimbleaward. Product designer for Mattel.

Michelle LucasAssociate ProfessorBFA (Fashion Design) Otis. Designer andillustrator for Mattel, Savannah, Esprit, DebraMcGuire, and Contempo. Owner of and designerfor Rouge and Butterfly, specializing in youngdesigner dresses and sportswear.

Evelyn McInerneyAssociate ProfessorAA Fashion Inst. of Technology, studied at UCLA(Vocational Education Teaching). Extensivedesign and manufacturing experience, specializingin junior dresses and sportswear in N.Y. and L.A.

Chetna MehtaSenior LecturerMA CSU Northridge, CSU Long Beach.Professional artist, designer and educator.Exhibiited and collected nationallyand internationally.

Fashion Design

DepartmentFaculty

75

Fashion Design

Nora MinassianLecturerBFA (Fashion Design) Otis. Winner of the FirstPrize Thimble Award from C Randall Brooks.Design Director and Owner of Nora-Minas Inc.Fashion Director for California Apparel Inc. HeadDesigner for Civility, Johnny Was, AnthonyMoorcroft, Auditorium, Malibu Design Group.Founder/Designer of N.M. Design/Nora M.

Alexis MontgomerySenior LecturerAA (Fashion Design) Los Angeles Trade Tech.Coll. First through production patternmaker with28 years experience in the garment industry,working both in-house and freelance for Mossimo,Lane Bryant, J.C. Penny, HSN.

Aaron PauleAssistant ProfessorBFA (Fashion Design) Otis. Experience in L.A.garment industry designing for Free Wear, JidaiIndustries, Symbol & Democracy. Freelancedesigner and illustrator for television and film.

Nicolette PaulsenProfessor West Valley Occupational Center (Draping).Freelance designer Fredricks of Hollywood,Dreamgirl Lingere, Isisport. Twenty-five years asFreelance design patternmaker. Owner/Designer,Whose Sari Now.

Mitra RajabiAdjunct Assistant ProfessorBFA (Fashion Design) Otis; studied at LA CityColl. (Fashion Design and Fine Arts). “Designerof the Year” Award (Otis), “Mizuno Grand Prize”winner 1989. Designer/illustrator for La Belle,Euphoric, Dr. Baby, Ceduxion; Founder ofPeacock Inc. Menswear Store; Eleven yearsprofessional experience in designing for apparelmanufacturers and retail.

Karen Regoli-ArthurAdjunct Assistant Professor AFA (Fashion Design) Otis Extension. Designer,creator of custom wedding gowns and costumes;instructor for Los Angeles HeArt Project fashionresidency program.

Miguel ReyesLecturerBFA (Illustration), Otis. Freelance painter, portraitartist, muralist, photographer, printer, stylist, art and fashion show producer. Vogue/Sotheby’sFashion Illustration Award, MTA Muralist.

Diane SiskoSenior LecturerBFA Purdue Univ. Costume and makeup for film,TV, UCS, LAUSD, Odyssey Theatre Co., JohnAnson Ford Theatre Director of CostumeProgram, LACC Theatre Academy; Member ofCostumer's Guild & Costume Society of America.

Francis SpittaSenior LecturerBFA (Fashion Design) Otis. Freelance surfacedesigner specializing in menswear and youngmen's prints, represented by "The Style Council"print studio in N.Y.

Pat Stiles Associate ProfessorStudied at Pratt Inst. (Fine Art/Illustration);Parsons School of Design (Fashion Illustration).Fashion illustrator and graphic designer for filmand advertising.

Robert Tuggle Lecturer BFA (Fashion Design) Otis. Designer: Red Sand,Paul D'Avril/Introspect, Bum Equipment,Unionbay, Punch. Senior Designer : Land's EndYouth, Tommy Bahama/Indigo Palms Denim.Design Director: 7 for All Mankind, The NorthFace, Columbia Sportswear. Senior DesignDirector: Old Navy. Contract Collection Designer:Wrangler Outdoor.

Robert ValerioSenior LecturerBA (Economics) UC San Diego. President ofKubic Marketing Inc.; Chairman of the BoardInternational Association of SkateboardCompanies; CEO Giant Skateboard Distribution.

DepartmentFaculty

76

Laurie ViapianoSenior LecturerBFA (Fashion Design) Otis. Designer for TommyBahama, Dennis Goldsmith, and Catalina.Assistant Designer for Phyllis Sues, and Warren Z. Freelance Design and Illustration for AnneCole, Authentic Fitness, Laurie Allyn, Avalon Blu,Apparel Ventures. Past Assistant Chair, FashionDesign, Otis.

Wanda WellerLecturerBFA (Fashion Design) Otis. Design Director forPatagonia, Group Director for Environmental andCommunications Design for Ziba Design, DesignDirector of US Apparel for Adidas America,Designer and Product Manager for Ideation,Designer for Jantzen, Assistant Designer forMSSP Leon Max, Freelance Textile Designer for Fashion Initiatives. Speaker representative of Patagonia at IDSA's Regional DesignConference in San Francisco and in WashingtonDC. Member of Color Marketing Group.

Jackie WickserAssociate ProfessorAA (Fashion Design) North Texas State Univ. 30years experience in N.Y. and L.A. designer marketas designer and pattern maker; pattern designer forKoos Van Den Akker, Gloria Sachs, Mark Eisen,Katayone Adeli and Rosae Nichols; consultant forSeven For All Mankind; work published in Vogue,Elle, Paper, Mademoiselle, The Denver Post, andSportswear International.

Leah Hoechung Won LecturerBFA (Fashion) Otis. Head Designer for ReFresh.Freelance Computer Artist for `Mattel Shanghaiproject', and for Christie Newman. Head Designer for HL by Herve Leger and for BCBG.St. John Knits: Head Assistant Designer 2000-2002, Assistant Designer, evening division,1998-2000, Junior Designer, couture, collectionand evening division 2002-2005. AWARDS: Critic award winner for St. John evening wear,Critic award winner for Anne Klein sportswear,CFDA Portfolio

Tony YoungProfessorBFA (Fashion Design) Otis; Studied (Art History)Middlebury Coll. Interior design for BCBG storeconcepts; window displays for Saks, NeimanMarcus; designer and art director for runwaycollections, product design/fabric development,innovative construction techniques. Awards forproduct illustrations in W, Vogue, WWD.

Susan ZarateSenior LecturerBA CSU Fullerton. Costume illustrator for filmand music industry, including “AI,” “Amistad,”“Batman and Robin,” “To Wong Foo,”“Anchorman,” “Spiderman II;” fashion illustrationfor Absolut, Versace for Vogue magazine, Pradacommercial; sketched and designed costumes forMadonna. Fashion illustrator for Vogue.

Tuula ZivinAssistant ProfessorAA (Fashion Design) Brooks College. Extensiveindustry experience as head patternmaker forCompagnie BX, Bronx, Saint Germain,Motherhood, City Girl, and California Concepts;branded and private label customers includeNeiman Marcus, Saks, Nordstrom, Fred Segal,and Shauna Stein. Technical consultant forpatented Tummy Tuck jeans.

Fashion Design

DepartmentGoals

78

The Fine Arts Department teaches the technical, theoretical,professional, critical, and personal skills necessary to sustainoneself as an artist and to build a life around creativepractice. Students in the Fine Arts Department will:

Fine Arts

• Develop artistic autonomy to identify andfocus on their practice, act upon theirideas and continue to learn over thelength of their career.

• Learn discipline-specific skills inphotography, painting, sculpture/newgenres, drawings, video and digital/newmedia.

• Be able to think critically, critique art, andcontextualize their work with appropriateconcepts from history, cultural theory,contemporary art, public and global lifeand ethics.

• Acquire professional practices preparingthem for future career endeavors as apracticing artist including selling art,commissions, graduate studies,employment and teaching.

• Be conversant with interdisciplinaryconcepts and approaches incontemporary art.

DegreeRequirements

79

Painting


Sciences section.


PNTG204/214 Painting I/II 3.0 3.0

SCNG204 Sculpture/New Genres I 3.0 –—

PHOT204 Photography I 3.0 –—

FINA215 Art and Technology Practices 2.0 –—

Studio Electives –— 5.0

AHCS246 Postmodern Theory and Fine Art 3.0 –—

AHCS220 Contemporary Perspectives in Art and Design –— 3.0

*ENGL202 Sophomore English 3.0 –—

*ILML 200 Integrated Learning Lecture –— 3.0

*MATH136 Math for Artists and Designers –— 3.0



PNTG314 Painting III 3.0 --

FINA 353 Studio IV -- 3.0

**ILMS300 Integrated Learning Studio 2.0 --

FINA385 Interdisciplinary Critique –— 2.0

Studio Electives 7.0 8.0

*AHCS310 Art History Elective 3.0 –—

*NSCI307 Natural Science 3.0 –—

*Advanced Topics in English or –— 3.0

Liberal Studies Elective

Total Credits per Semester 18.0 16.0**ILMS300 Integrated Learning Studio can be taken in either the fall or spring semester in the Junior Year


FINA470/471 Senior Studio I/II 5.0 5.0

FINA443 Senior Review –— 2.0

FINA455 Professional Practices –— 2.0


LIBS455 Senior Thesis 3.0 –—

*LIBS440 Senior Liberal Studies Capstone 3.0 –—

*SSCI 210 Social Science Elective –— 3.0

Total credits per Semester 16.0 15.0


DegreeRequirements

80

Photography

Descriptions forcourses listed in greyboxes are located inthe Liberal Arts andSciences section.


PHOT204/214 Photography I/II 3.0 3.0

PNTG204 Painting I 3.0 –—

SCNG204 Sculpture/New Genres I 3.0 –—

PHOT230 Lighting Studio I –— 3.0







*MATH136 Math for Artists and Designers –— 3.0



PHOT314 Photography III 3.0 –—

FINA 353 Studio IV –— 3.0

**ILMS300 Integrated Learning Studio 2.0 –—



AHCS321 History of Photography 3.0 –—





**ILMS300 Integrated Learning Studio can be taken in either the fall or spring semester in the Junior Year











DegreeRequirements

81

Sculpture/New Genres


Sciences section.


SCNG204/214 Sculpture/New Genres I/II 3.0 3.0

PNTG204 Painting I 3.0 –—

PHOT204 Photography I 3.0 –—







MATH136 Math for Artists and Designers –— 3.0



SCNG314 Sculpture/New Genres III 3.0 --

FINA353 Studio IV -- 3.0

**ILMS300 Integrated Learning Studio 2.0 –—



*AHCS310 Art History Elective 3.0 –—





**ILMS300 Integrated Learning Studio can be taken in either the fall or spring semester in the Junior Year









Total credits per Semester 16.0 15.0


CourseDescriptions

82

Introduction to Experimental DrawingDRWG204 3 credits This course is designed to assist students inexpanding their drawing skills through bothtraditional and unconventional drawing exercises.Students learn the signs of meaning that areproduced from the specific forms, erasures, anddrawing marks they put on paper. Theyexperiment with new materials, techniques andskills.

Experimental Drawing ProjectsDRWG320 3 creditsThis course provides an opportunity for studentsto explore advanced techniques and ideas indrawing. It helps students develop their ownpersonal vision and awareness of the drawingmedia through independent projects and building abody of work. This course may be repeated forcredit.

Art & Technology Practices FINA215 2 creditsATP is an introductory course in new media -exposing students to a wide range of digital artmaking practices while providing the technicalfundamentals that enable students to beginintegrating digital methods in their respectivepractices. The course consists of lectures,demonstrations, visiting speakers, and computerlab experience Particular attention is placed onbalancing technical skills with creative contentand experimental approaches. We will explore theevolution of new media and the correspondingsocial and cultural impact. Core software is AdobePhotoshop, Adobe Illustrator, and Final Cut Pro.Sophomore Core Requirement.

Blue Space/White BoxFINA305 2 creditsStudents curate and mount shows for the BolskyGallery. This course, designed to deepen students'understanding of the intellectual and practicaltasks of curating contemporary art, works withproposals submitted by students and faculty, aswell as group shows generated by the class.Students learn the aspects of curatorial andexhibition design and installation.

Visiting Artist Workshop/AdvancedVisiting Artist WorkshopFINA325/326 2 credits/3 credits

Critic in Residence/Advanced Critic inResidence FINA327/328 2 credits/3 creditsThese courses expose students to the complexityand diversity of activities in the fine arts byinviting prominent artist and critics to the campusfor studio and seminar workshops in theirpractice, methods or medium. Course content willvary in content each semester. See the Fine ArtsDepartment for specific course descriptions.

Studio IV: Painting, Photography &Sculpture/New GenresFINA353 3 creditsAn advanced studio course emphasizing thedisciplines of Painting, Photography & Sculpture/New Genres. This course provides a workingforum for intermediate students that addressesstudents’ own interests and art-making motives.Students investigate specific concepts, processes,and visual strategies toward the development of anindividual studio practice. This production-oriented course examines how artists use theirtime in the studio, and focus on developing andexpanding the students’ potential andcommitment, personal vocabulary andcorresponding technique. Individual and groupcritiques, seminars, and individual meetingsprovide insight into different approaches tocreativity and help students find the workingmethods that best suit them. A rigorous approachto production is expected. Attending the VisitingArtist Lecture Series is required and familiarizesthe students/artists with an international artcommunity.Offered Spring Semester only

Fine Art Praxis FINA370 2 creditsFine Art Praxis allows the student to bringtogether a contemporary topic and relevant arthistorical information in an interdisciplinarysetting. A three-hour studio class focuses onartistic application of the subject, while a two-hour history/theory component reinforces thehistorical and contemporary models and contexts.Students receive Fine Arts/Liberal Arts credit.

Fine Arts

CourseDescriptions

83

Fine Arts

Content varies each term. Co-requisite: AHCS366 Liberal Studies Praxis.

Interdisciplinary Critique FINA385 2 creditsThis rigorous companion course to Studio IVprovides the critical dialogue of peers, helpingstudents to develop an increased ability to respondto media outside of their practice. Taught byartists and critics, this course considers work of allkinds and acquaints students with thecontemporary notion of critique as it currentlyinforms artistic practice. Offered Spring semester only

Directed Internship FINA390 2 creditsQualified upper-level students find and placethemselves in a variety of structured positions inthe Los Angeles art community, includingmuseums (MOCA, LACMA, SMMA); galleries;magazines; and film, television, photography, andanimation studios. Internships enhance students'education by providing well-supervised workexperiences, leading to jobs after school.

Advanced TopicsFINA406/415 2 credits/3 credits This course allows the student access to acohesive body of information connected withsimultaneous components of subject and objectmaking. A three- or six-hour seminar and/or studioexplores the historical and contemporary modelsand contexts of artistic practice. See Fine Arts Department for additional coursedescriptions.

Senior ReviewFINA443 2 creditsBy way of a professional presentation to their peergroup, each student’s practice is contextualizedwithin the them they previously selected forSenior Thesis.

Professional PracticesFINA455 2 creditsThis practical and hands-on course addressesprofessional practices in Fine Arts through a seriesof workshops and seminars. Working inconjunction with Senior Studio II, topics include:building various presentation spaces; installingand lighting art; documentation of artwork;graduate school applications; grant writing;various business practices; gallery representation;alternative spaces and practices; professionaldevelopment beyond art school; artist residencies;and various career opportunities for artists.Offered spring semester only

Senior Studio I FINA470 5 creditsNo longer divided by major, in Senior Studio Ieach student is given their own studio and workswith a group of faculty mentors to develop a bodyof work build on an intensive exploration ofthemes and techniques. Critical dialogue withmentors and peers helps each individual developclarity in their art work as well a high level ofarticulation of the issues of their work. TheVisiting Artist Lecture Services brings the student-artist more contact with the internationalcommunity of artist.Offered Fall semester only

Senior Studio II FINA471 5 creditsThe final semester of Senior Studio is devoted tothe completion of a cohesive body of workculminating in the senior exhibition. Studentscontinue independent studio practices, discussionsand critiques with mentors and peers, and studiovisits with a variety of visiting artists. The VisitingArtist Lecture Series familiarizes the student-artistwith the international art community. The buildingand mounting of the senior show culminates theyear’s work. This course addresses issues thatprepare students for a life in art after graduation,as well as graduate school preparation and careerand employment opportunities. Offered Spring semester only

CourseDescriptions

84

Introduction to Video MEDA210 3 credits This course offers an introduction to working withmoving images as an art form. While receivingtraining in basic digital video production andediting techniques using Final Cut Pro and otherprofessional applications, and learning abouthistorical and contemporary use of video as an artform, students will complete several short projectsof their own. Techniques covered will includeplanning, lighting, camera work, editing, andmixing sound using digital video media.

VideoMEDA211 2 creditsVideo I is a hands-on, studio class that exploresrecorded video and audio as art materials.The classwill provide an introduction to the history andvocabulary of video art through screenings ofimportant works. Students will also produce originalartworks in video while developing skills incamerawork, lighting, audio recording, specialeffects, and editing. The class will emphasize theenormous potential of time-based media in its manyaspects including performance, documentary,narrative, installation, and mass distribution.

Sound Art MEDA307 2 creditsSound is discussed through many filters: Futuristand Dada work, Japanese noise; sculpture,installation and other artwork; popular culture andsubculture; performance and silence; repetition,sounds of the world, and fabricated worlds;technological innovations and historicalprecedents; unfamiliar tuning systems andstructuring principles; improvisation and chance.Students make sound pieces/objects throughoutthe term, as well as participate in a performance.Offered in alternating semesters/years.

Intermedia MEDA308 2 creditsStudents explore emerging spaces of art makingand cultural discussion using new technologies ofinteractivity (CD/DVD and Web Works), globaldiscourse (Internet websites and communities), technical and mixed improvisation (DJ-ing).Offered in alternating semesters/years.

Super-8 Filmmaking MEDA316 2 creditsIn Super-8 Filmmaking, student will make filmsand study the history of a medium just recentlybeing written. Since this history hasn’t yet beeninstitutionalized and fixed, and since the super-8format remains rather stubbornly an "amateur"medium, (but not for long, as video has replacedthe home movie, super-8 is being used by artistsand professionals exclusively), it has the rarecharacteristic of not being responsible to thehistory of a form. Super-8, from the beginning ofits use by artists, has rarely worried aboutfilmmaking conventions, except to toy with them.Offered Spring semester only.

Video Projects MEDA320 3 creditsAn advanced course in the technical and aestheticaspects of video as an art form. The creative issuesinvolved in working in a time-based, expressivemedium will be emphasized through the in-classdiscussion of examples of contemporary video work.Students will become familiar with the cutting edgedebates regarding video art, as well as receivinginstruction in digital post-production procedures andadvanced technology.

Advanced Topics: Live Art MEDA406 2 creditsThe course focuses on the variety of wayscontemporary artists use performance as a medium.Through a series of projects students develop theirinterest in performance and gain the experience ofperforming in both group and individual works. Inaddition to the studio component, the course includesa special lectures designed to give a background inthe history of performance and artists involved in themedium. Offered in alternating semesters/years.

Photography IPHOT204 3 creditsStudents are introduced to the mechanics and ethicsof photographic vision. Basic techniques of exposure,composition, B&W processing, and printing arereviewed and refined at an individual pace. Studentsprint in the lab on a regular basis with the instructor'sguidance. These lab sessions alternate with groupcritiques, slide lectures, and field trips to helpstudents to expand and develop a critical vocabulary. Offered Fall Semester only. $30 Lab Fee.

Fine Arts

CourseDescriptions

85

Fine Arts

Photography II PHOT214 3 creditsPhoto II examines the role of photographs in thecreation of public signs and symbols as well as thefunction of representational images within privatevocabularies. Within the context of theoretical andhistorical perspectives, class projects will exploresemiotics, linguistics, jokes, dreams, and theunconscious. Students will use a wide variety ofexperimental photographic and computergenerated manipulations including litho film, highcontrast, and photomontage as well as moretraditional photographic strategies. Also includedwill be experimentation with sharp films, grainyfilms, and a wide variety of developers and toners.Offered Spring Semester only. $30 Lab Fee.

Photography Studio Practices PHOT215 2 credits See Department for Course Description. $30 Lab Fee.

Extended Techniques in PhotographyPHOT218 2 creditsThis course supports Photography majors withmore in-depth instruction in particular techniques.$30 Lab Fee.

Lighting Studio I PHOT230 3 creditsThis course introduces students to basic studioskills in lighting and electronic flash applications,including 4x5 and medium formats, tungsten andstrobe lighting, and in-depth exploration of genressuch as photo illustration, still life and portraiture.Students develop a critical understanding of howimagery functions within a commercial context andthe relationship between fine art and commercialwork. Shooting assignments include still life,portraiture, and photo illustration projects. Thiscourse is required for Photography majors. Offered Spring semester only. $30 Lab Fee.

Photography III PHOT314 3 creditsParadigms such as authenticity and appropriationare explored as students investigate the aestheticand cultural debates surrounding Modern andPost-Modern positions. Traditional photographicmaterials, digital processes, and mixed mediaprojects are incorporated. Offered Fall semester only. $30 Lab Fee.

Color Photography PHOT330 2 creditsThis class explores technical, theoretical, andaesthetic concerns in color photography. Studentslearn the basic and more accessible chromogenicprocess from color negatives using the RAprocessor along with the Cibachrome processfrom color slides. Focus is technical and hands-on; however, emphasis is also given to discussionand critique of the use, effect, and meaning ofcolor in documentary and art photography. Offered on a rotating basis. $30 Lab Fee.

Photo GenresPHOT335 2 creditsThe genres courses provide student with theopportunity to explore a variety of topics within thecontext of photography, targeting specific conceptual,aesthetic, and material approaches in depth,offering theoretic and vernacular driveninvestigation. Recent topics offered: Photo Collage,the Digital Photograph, and Mural Printing.Offered on a rotating basis. $30 Lab Fee.

Advanced Lighting StudioPHOT 430 2 credits This is a hands-on studio class with emphasis onadvanced techniques. Major areas of focusinclude: refining lighting techniques,environmental portraiture, feature layout,researching clients and self-promotion. Hair,make-up and fashion stylists will work withstudents on demonstration shoots. Critiques willfocus on concept, technique, craftsmanship, andproblem solving. The course will cover mediumformat and 4X5 photography, strobe and tungstenlighting, and explore various genres of photoillustration, still life, and portraiture. Assignmentsand projects for both studio and location work willbuild skills and develop a portfolio for theeditorial market. $30 Lab Fee.

Painting I PNTG204 3 creditsA hands-on investigation of technical and formalissues in painting (oil, acrylic, and mixed media),this course focuses on the development oftechnical abilities in collusion with concepts andexploration of different methods of achievingvisual "dexterity." Offered Fall semester only

CourseDescriptions

86

Extended Techniques for PaintingPNTG205 2 credits This is a practical workshop directed to theunderstanding of painting as physicalaccomplishment. Painting materials and technicalprocesses from ancient to contemporary areexamined. Painting techniques might include:encaustic, egg tempera, oils, plastics, industrialpaints, and others.

Painting IIPNTG214 3 creditsThis intermediate painting course integratesintellectual and technical ability with historical,contemporary, and personal strategies. Emphasis ison the exposure to and analysis of contemporarypainting through visual presentations, lectures, andthe practical application of painting as a medium,both in technique and material.Offered Spring semester only

Painting GenresPNTG306 2 creditsThe genres courses provide students with theopportunity to explore a variety of topics withinthe context of painting, targeting specificconceptual, aesthetic and material approaches indepth, offering theoretical and vernacular driveninvestigations. Recent topics offered: Real Art;Methods, Materials & Concepts of Color, Figure

Processes & PracticesPNTG310/311 3 creditsAddressing the contemporary desire to stretch themedium's physical limits and prod its conventionswith unorthodox materials and forms, thisadvanced painting course focuses on the interplaybetween painting and space. Investigations such asrepresentation/abstraction, movement/stillness,and structure/idea provide an opportunity forstudents to engage in non-traditional approaches,including installation. This course may be taken as an alternative toPNTG314 Painting III. Offered in Fall only.

Painting IIIPNTG314 3 creditsUsing historical and contemporary issues,including figuration and the body, the politicalimpulse in art, narrative, and contemporaryabstraction, students explore how thecontextualization of images function in terms ofcontent, and how they serve as the theoreticalbasis to explore painting as a highly adaptivecontemporary medium. This class emphasizes thedevelopment of individual voice leading to JuniorStudio. Offered Fall semester only

Sculpture/New Genres I SCNG204 3 creditsAn introduction to the history and practice ofsculpture and new genres (new art forms that usetime and space). Students are introduced totechnical and contemplative approaches tocommanding space and material to producemeaningful objects, events, or places. Technicalinstruction covers introductory use of wood andmetal shops (including digital 3D printer),adhesives and joinery, basic mold making andcasting, as well as contemporary new genresforms such as performance and installation art. Offered in Fall semester only.

Sculpture/New Genres II SCNG214 3 creditsSCNG 2 guides students in the development andrealization of art projects in the context ofcontemporary art. Skills will include refinedfabrication techniques and expanded repertoire ofmaterials, new computer technologies for 3-Doutput, video, sound, and more. Students areexposed to contemporary practices throughlectures, reading discussions, critique andinterviews with artists and will be exploring someof these topics in their own work. Offered in Spring semester only.

Fine Arts

CourseDescriptions

87

Fine Arts

Extended Techniques for SculptureSCNG215 2 creditsThis course supports Sculpture majors with morein-depth instruction in particular techniques suchas wall building, small electronics like motiondetectors and robotics, details of wood joinery andcarving, some special plastics skills like vacuumforming, even some architectural model making,and more.Offered in alternating semesters/years.

Special Topics in CraftsSCNG235 2 credits A course covering craft practices including lightmetals and fibers as applied to contemporary artpractice. The course will allow for extendedhands-on practice beyond the demo format.Required for students in the Arts EducatorPreparation track of the ACT program. Can betaken as anelective for all other students.

Ceramics SCNG236 2 credits Recent years have seen the revival of ceramicsculpture in contemporary art. This class willapproach ceramics as a sculptural medium. Thetechniques taught will include mold-making, slip-casting and hand-building. Discussions will cover the history of ceramic sculpture, highand low culture, craft versus art, and the use ofmultiples and appropriation.

SCNG: GenresSCNG306 2 credits The genre courses provide students with theopportunity to explore a variety of topics withinthe context of Sculpture/New Genres, targetingspecific conceptual, aesthetic and materialapproaches in depth, offering theoretic andvernacular driven investigation. Recent Topicsoffered: Metalcasting and Major Mold Making.Offered in alternating semesters/years.

Sculpture/New Genres III SCNG314 3 creditsStudents have an opportunity to work on large-scale, long-term projects in sculpture and/or newgenres, working in-depth in a chosen material or skill: for instance, using complicated mold-making and casting technologies, or a researchmethodology that takes weeks to achieveoutcome. The class addresses artwork that isambitious, experimental, political, and difficult,work that pushes both formal and conceptualboundaries. Offered in Fall semester only.

Meg CranstonChairMFA Cal Arts; BA (Anthropology/Sociology)Kenyon Coll. Internationally recognizedperformance and installation artist. Solo shows atDunedin Public Art Gallery, New Zealand;Rosamund Felsen Gallery, Santa Monica; GalerieMichael Kapinos, Berlin; Venetia Kapernekas FineArt, N.Y.; Carnegie Museum of Art, Pittsburgh.Recipient COLA Individual Artist’s Grant,Architectural Foundation of America Art in PublicPlaces Award, John Simon Guggenheim MemorialFoundation Fellowship.

Steven BankheadLecturerMFA Otis. BFA Auburn University. Exhibitionsinclude Circus Gallery, Los Angeles; GalerieAndreas Binder, Munich, Germany; TirolerKunstpavillon in Innsbrook, Austria; Co-Lab,Copenhagen, Denmark; The Center for Book Arts,NY; Cal State Los Angeles, Torrance Art Museum,and at (s)language, MAK Center, Angles Gallery,Arena 1 and AndrewShire Gallery in Los Angeles.

Linda BurnhamDistinguished Professor of PaintingBFA Cal Arts. Painter. Solo exhibitions atChristopher Grimes Gallery, Santa Monica;Jessica Fredericks Gallery, NY; Finesilver Gallery,San Antonio; Gwenda Jay Gallery, Chicago; andJan Baum Gallery, LA.

Joshua CallahanLecturerMFA UCLA. BA Cultural AnthropologyUniversity of North Carolina at Asheville. Artist.Exhibitions include LA Louver, Los Angeles;Kantor/Feuer Gallery, Los Angeles; Magazzinod'Arte Modern, Rome; High Desert Test Sites,Yucca Valley, CA; South La Brea Gallery, LosAngeles; USC Master of Fine Arts Gallery, LosAngeles; Kirk Douglas Theater, Los Angeles;Spencer Brownstone Gallery, NY.

Carole CaroompasProfessorMFA USC, BA CSU Fullerton. Artist-Painter.Retrospective exhibition at Otis Gallery.Exhibitions at Western Project, Culver City; MarkMoore, Santa Monica; P.P.O.W., N.Y.; Sue SpaidFine Art; Hammer Museum at UCLA; CorcoranGallery of Art, WDC. Grants include Adolph &Esther Gottlieb Foundation; two NationalEndowment for the Arts, John Simon GuggenheimMemorial Fellowship, COLA Grant, CaliforniaCommunity Foundation Grant.

Phil ChangLecturerMFA Cal Arts, BA Univ. of California, Irvine.Photographer, curator. Exhibitions includeHudson Franklin, NY; Bolsky Gallery, OtisCollege, Los Angeles; Sam Lee Gallery, LosAngeles; Outpost for Contemporary Art, LosAngeles; Armory Northwest/965, Pasadena; ScaloProject Space, NY; Recipient of The AhmansonFoundation Award and California Institute of theArts Grant.

Liz CraftLecturerMFA UCLA, BFA Otis. Solo exhibitions includePatrick Painter, Santa Monica; Marianne Boesky,N.Y.; and Alison Jacques Gallery, London.Group exhibitions include "WONDERLAND -Through the Looking Glass," KadE, Amersfoort,The Netherlands (2009); "Cult Fiction," HaywardGallery, London (2007); "Eden's Edge," HammerMuseum (2007); and "The Americans," BarbicanCentre, London (2000). The artist completed aresidency with the Halle für Kunst, Lunëberg,Germany in 2006 and was included in the 2004Whitney Biennial. Liz Craft currently lives andworks in LA.

Jacci Den HartogProfessor, Program Director, Sculpture/NewGenresMFA Claremont Graduate University; BA LinfieldCollege; studied at Centro Cultural CostarricesneNorteamericano, San Jose, Costa Rica. Sculptor.Exhibitions include Nantes Museum, Nantes,France; San Francisco Art Institute; Kansas CityArt Institute. Commissioned public art at Angel'sKnoll, Los Angeles. Reviewed in Artforum, FlashArt, and Art in America.

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Fine Arts

DepartmentFaculty

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Fine Arts

Dana DuffProfessorMFA Cal Arts, BFA Cranbrook. Artist. Soloshows at Max Protech, NY; RichardKuhlenschmidt, L.A; Milford Gallery, NY, NewMuseum of Contemporary Art, Whitney Museum,NY, 2005 Biennale de l'Image en Mouvement,Geneva; 2005 International Film Festival,Rotterdam.

Scott GriegerProgram Director, PaintingBFA Chouinard Art School. Artist. Exhibited atMargo Leavin, LA; Patricia Faure, Santa Monica;Santa Barbara Contemporary Arts Forum; ArmoryCenter for the Arts, Pasadena; Los Angeles CountyArt Museum; Whitney Museum, NY; Museum ofModern Art, NY, San Francisco Art Museum.

Asher HartmanLecturerMFA California Institute of the Arts, BA UCLA.Artist. Exhibitions include Sea and SpaceExplorations, Los Angeles; HighwaysPerformance Space, Los Angeles; Track 16, LosAngeles; Side Street Projects, Los Angeles;Whitney Biennial 2008, NY; Machine Project, LosAngeles; High Energy Constructs, Los Angeles; Paris-Berlin Film Festival; Museum of JurassicTechnology, Los Angeles.

Skylar HaskardLecturerMFA UCLA. BFA Glasgow School of Art.Performance, video and sculpture artist. Groupexhibitions include Transmission Gallery,Glasgow; UCLA Fowler Museum, Los Angeles;MAK Center, Los Angeles; Black Dragon Society,Los Angeles; Anna Helwing, Los Angeles.

Susan HillLecturerBA Wellesley. Artist. Co-developed theneedlework of Judy Chicago’s "The Dinner Party,"researching the historic techniques and leading ateam of needle-workers in the creation of themajestic embroidered able runners. Over 30 yearsexperience working among Los Angeles non-profit arts organizations.

Gian Martin JollerLecturer MFA/BFA Cal Arts. Exhibited at CAG Gallery,St.Petersburg, Russia; Armory Center for the ArtsNorthwest, Pasadena; Gallery G19, Helsinki,Finland; Zolla/Lieberman Gallery, Chicago, IL;Norma Desmond Productions, L.A., and HausGallery @ the Brewery, Los Angeles, CA.

Siri KaurSenior LecturerMA (Italian Studies), BA (Comparative Literature)Smith College. Photographer. Exhibitions include401 Projects in New York; Hayworth Gallery, LosAngeles; The Torrance Museum of Art; UCLAWight Biennial. Permanent collections includeThe National Gallery in D.C. and The Universityof Maine.

Hilja KeadingLecturerBA UCLA. Work broadcast on television andexhibited nationally and internationally ingalleries and museums, including the LyonBiennale, Getty Museum, LACMA, HenryMuseum in Seattle, MOCA, and PPOW Gallery,N.Y. UCLA.,

Soo KimProfessor, Program Director, PhotographyMFA Cal Arts, BA UC Riverside. Artist, writerand curator. Exhibition at Sandroni Rey Gallery,LA; DCKT Contemporary, NY; National Centerfor the Arts, El Salvador; Gwangju Biennale,Korea; Whitney Museum, N.Y; AmericanCinemateque, San Francisco.

Daniel Mendel-BlackLecturerArtist and writer. Exhibitions include MargoLeavin, Los Angeles; Guggenheim Gallery atChapman University; Daniel Hug Gallery, LosAngeles; Young Eun Museum of ContemporaryArt, Korea; Royal Melbourne Institute ofTechnology, Melbourne. Editor and publisher ofSpring Journal and contributor to Meise,published in Berlin.

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Carter MullLecturerMFA Cal Arts. BFA RISD. Exhibitions includeMuseum of Modern Art, NY; Marc Foxx, LosAngeles; Artissima Contemporary Art Fair, Turin,Italy; Rivington Arms, NY; Dumbo Arts Center,Brooklyn, NY; Vilma Gold, London; Mary Boone,NY; Ritter/Zamet, London; Sister Gallery, LosAngeles; Contemporary Art Center, Cincinnati,OH; Sandroni Rey Gallery, Los Angeles

Ruby NeriLecturerMFA UCLA. BFA San Francisco Art Institute.Exhibitions in L.A. include David KordanskyGallery, China Art Objects, John NatsoulasGallery, Los Angeles Contemporary; in SanFrancisco at Camp Fire Stories, The VictoriaRoom, Center for Curatorial Studies,Yerba BuenaCenter for the Arts, and in N.Y. at Leo Koenig andBard College.

Patrick NickellAdjunct Associate ProfessorMFA Claremont Graduate Univ., BA LinfieldColl. Nationally and internationally exhibitedsculptor. Exhibited at Kohn Turner Gallery; SueSpaid Fine Art; Gallery 2211, Los Angeles;Laguna Beach Museum of Art; Patricia FaureGallery; Galleri Markant Langelo, TheNetherlands; Galleri Tommy Lund, Denmark.

Adam OvertonLecturerMFA Cal Arts; Artist. Exhibitions andperformances include Los Angeles CountyMuseum of Art; Sea & Space Explorations, LosAngeles; Machine Project, Los Angeles; HighEnergy Constructs, Los Angeles; David Patton,Los Angeles; Scores and writings have appearedin FOARM Journal of Arts & Research, RatsaladDeluxe, Leonardo Journal and ContemporaryMusic Review.

Michael PierzynskiLecturerBFA Washington University. St. Louis, MO.Studied at Tisch School of the Arts, NYU. Artist.Exhibitions in Los Angeles include Carl BergGallery, Christopher Grimes Gallery, POST, KimLight Gallery, Rosamund Felsen Gallery andLACE. Other exhibitions include Casey Kaplan,N.Y.; Angstrom Gallery, Dallas, and NewMuseum of Contemporary Art, N.Y.

Monique PrietoLecturerMFA Cal Arts, Skowhegan School of Painting andSculpture, BFA UCLA. Painter. Solo exhibitionsinclude ACME, LA; Praz – Delavallade, Paris;Cheim & Read, NY; Scottsdale Museum ofContemporary Art, AZ; Il Capricorno, Venice;Corvi-Mora, London. Recipient of The LouisComfort Tiffany Foundation Grant.Work includedin the Latino Museum L.A.; Museum ofContemporary Art, San Diego; LACMA, WhitneyMuseum, Orange County Museum, MFA Houstonand UCLA Hammer Museum.

Alex SladeAdjunct Assistant Professor MFA Cal Arts, BA Univ. of Michigan. Exhibitionsat Liverpool Biennial; Wiensowski & Harbord,Berlin; Kunstlerhaus Bethanien, Berlin; RogerMerians Gallery NY; The Downtown ArtsFestival, NY; Mark Foxx, Santa Monica; GoldmanTevis Gallery, L.A. 2008 COLA Grant.

Alexis SmithSenior LecturerBA University of California Irvine.Solo exhibitions at the Whitney Museum, ICABoston, Walker Art Center, MoCA, Miami ArtMuseum, and Museum of Contemporary Art, SanDiego. Group exhibitions include LouisianaMuseum, Denmark; Site Santa Fe Biennial,MoCA, P.S. 1, and Centre Pompidou.

Ann SummaLecturerBA Beloit Coll. Exhibitions at Track 16, SantaMonica. Photojournalism published in Time,Fortune, Wired, People Weekly, EntertainmentWeekly, ESPN Magazine among other national andinternational publications. Represented by GettyImages.

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Fine Arts

Holly TempoAssociate ProfessorBA Pitzer Coll; MFA Claremont Grad School.Artist. Has shown extensively in SouthernCalifornia, including at Ruth Bachofner Gallery,Miller/Durazo Contemporary Art, POST, KohnTurner Gallery, Self-Help Graphics, LACMA'sLeo S. Bing Center, and LACE; as well asinternationally in Great Britain, France, TheNetherlands, India, and Panama.

Eric WesleyLecturerBA UCLA, Co-founder of Mountain School ofArt, Los Angeles. Exhibitions included MaureenPaley, London; China Art Objects, Los Angeles;Museum of Contemporary Art, Los Angeles;Galleria Fonti, Naples; Art Basel, Switzerland;Metro Pictures, NY; Prague Bienniel, CzechRepublic; Black Dragon Society, Los Angeles;P.S. 1 Contemporary Art Center, NY.

Chris WilderSenior LecturerMFA Cal Arts, BFA San Francisco Art Institute.Artist. Solo exhibitions include Kim Light/Lightbox, Los Angeles; e31, Athens, Greece;Kapinos Galerie, Berlin; The Happy Lion, LosAngeles, CA, Galerie Michael Janssen, Cologne,Germany; Andrew Kreps Gallery, N.Y., SarahCottier Gallery, Sydney, Australia; Roger MeriansGallery, N.Y., Blum & Poe, Santa Monica, CA.Public collections include LACMA; Museum ofContemporary Art, Miami; Norton Foundation,Los Angeles; Orange County Museum of Art;Laguna Beach Museum of Art.

Mark WyseLecturerMFA Yale Univ, BA Univ of Colorado.Exhibitions include Wall Space, N.Y.; HudsonFranklin Gallery, N.Y.; Blum & Poe L.A.

Fall 2010 Critic in ResidenceDick HebdigeA cultural critic and theorist, Hebdige haspublished widely on youth culture. His booksinclude: Subculture: The Meaning of Style(Methuen, 1979); Cut ‘n’ Mix: Culture, Identityand Caribbean Music (Methuen, 1987); andHiding in the Light: On Images and Things(Routledge, Methuen, 1988). His current interestsinclude the integration of autobiography andmixed media in critical writing and pedagogy.

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• Negotiate diverse public spheres

• Work in interdisciplinary teams

• Develop trans-disciplinary problem-solving skills

• Conceptualize, analyze and define issues and solutions

• Plan and propose creative solutions for a specific context, informed by engage-ment with a community group

Integrated Learning provides all BFA students with a series ofcollaborative experiences that extends beyond the boundariesof their own major, integrates disciplinary skills and knowledgeand is sited within a public context. Students work ininterdisciplinary teams with a community organization, andfocus on team building and research to address the needs of thecommunities and to implement real-world solutions whenpossible. The goal is to move beyond the traditional boundariesof the classroom and respond to community challenges usingstudents’ diverse visions. Through collaborative projectsstudents will:

Integrated Learning

CourseDescriptions

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Integrated Learning

Integrated Learning courses are woven throughoutthe entire undergraduate curriculum and arestructured as follows:• A two-credit introductory studio course taken in

the Foundation Year

• A three-credit Liberal Arts elective course takenin the sophomore year

• A two-credit elective studio course taken in thejunior year

Connections Through Color and DesignILMS100 2 creditsA second-semester Integrated Learning studiocourse introducing Foundation students tocontextually-based problem solving usingfundamentals of color and design. Students learnMunsell color theory, practical aspects of colormixing such as value, hue and chroma, as well ascomputer color application. Skills developed:Students solve problems that engage the largercommunity, trans-disciplinary practice, research,and collaboration.

Integrated Learning Liberal Arts ElectiveILML200 3 creditsAn integrative course using collaborativemethodology, synthesizing diverse perspectives,using the skills of creative and critical thinking,clear communication and information literacy.See the Liberal Arts department for offerings.

Integrated Learning Studio ElectiveILMS300 2 creditsAn upper-division interdisciplinary studio courseoffering unique core content that shifts from termto term. This studio affords students theopportunity to engage with professionals fromvarious fields and expand their notion of problemsolving beyond their major in public site real-world challenges.

Examples of previous and planned ILMS 300courses:

Ban the Bottle Abolish the Bag:Ways to reduce plastic pollution in our oceansStudents begin by researching the impact plastictrash has on our local oceans, wildlife andcommunities. They will then work in multi-disciplinary teams to develop proposals to educateand encourage the reduction, reuse and refusal ofplastic bags, bottles and containers.

Collaborating With Catastrophe: Disaster DesignAre we ready for the unexpected? If the Big Oneor another catastrophe hits Los Angelestomorrow, how can artists and designers help tomitigate the crisis and participate in the rebuildingof LA? Results will range from preventativedesign, to survival design, to design for a post-catastrophic future. Partner: City of El Segundo

Creative Solutions to the AutismEpidemicAutism Spectrum Disorder - Neurodiversity -Recovery. In this course students will work with staat CARD and the families for whom they provideservices to learn more about these issues and to dene solutions that transform and enhance theexperiences of people on the spectrum, theirfamilies, their therapists and the public awarenessof Autism. Partner: CARD (Center for Autism andRelated Disorders)

Comic Heroes: From 2D to 3DAn exploration of comics and their 3-D counterparts.Outcome may be an intriguing marketing promotionor perhaps a “ nal product” that could range from avirtual world, to an action gure, a digital game, oreven a user-created and edited website. Partner: Top Cow / Hero Initiative

CourseDescriptions

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RADI-O:Student teams learn about FM, AM and Internetradio production, producing content that reports,engages, and rediscovers the Westchestercommunity. Students gain hands-on experience inthe audio production studios at both Otis and LMU,while learning to listen, record and edit the soundaround them. As a class we will produce acreative, fun, and informative radio show to beavailable online at Otis and rebroadcast on theLMU radio stations. Partner: A Radio Station at LMU

Environmental Studio: Reclaiming The Oil FieldsConceptualize and produce art and design inter-ventions in partnership with Baldwin HillsConservancy. Engage issues of sustainability,environmental stewardship and blue-sky projectdevelopment for a historically significant LAlandscape. Partner: TBA

Made For Kids : Childhood Learning AndDevelopment Studio Otis students from all departments will developtools, toys, clothing and learning spaces for thestudents and faculty of Aces Elementary School inSouth Los Angeles. Partner: ACES (AcceleratedCharter Elementary School)

Made for Kids: Childhood Learning andDevelopment Studio IIOtis students from all departments will developtools, toys, clothing and learning spaces for thestudents and faculty of a local Inglewood School.

NeighborgapbridgeChanging the World, One Neighborhood at a Time.Can artists and designers collaborate and assume therole of ethnographers to investigate our Otisneighbors? Can they identify “gaps” in commun-ication, interests and values and propose ”bridges” toconnect them? Creative. Blue Sky. Out There.Walking Distance. Partner: WC Senior Center, WC/Loyola Branch Library and The Custom Hotel

Otis Goes Green - Global Green USA:This course provides art and design students withthe knowledge and tools needed to make ecodesignan integral part of the design process. Students inthis course will have an opportunity to help Otisbecome Green, discuss Green Design with topGreen Designers and attend a Green Design Show.We believe it is at the design education level wherewe have the best opportunity to create a sustainablefuture. Partner: Global Green International

Design for Social ImpactIntroducing students to the complexities of socialdesign leadership and teach them to design localproduct systems that can be validated and thenscaled to fit different contexts. Engaging directlywith local communities in need, students willconduct hands on research and develop actionablesocial design strategies, with an emphasis onsystems and tools. Partner: Tom's Shoes

Examples of ILML 200 courses: 3 Credits

Designing The PoliticalThis course investigates the role of artists anddesigners as powerful agents of protest andprogress. Emphasis will be placed on a historicalcontextualization of political graphics to learnmore about the role of propaganda, the face of theenemy, and the power of the visual text to shapethe perception of the “other” for better or worse.Partner: Center for the Study of Political Graphics

FestivalStudents will learn what goes into building andpromoting a successful community festival. Theywill create a business, marketing, and fundraising/development plan that can be used to create anannual festival that celebrates this area of the cityin a partnership between Otis College and localgovernment agencies and businesses. Partner:LAX Coastal and Westchester BID

Homeboy Histories and CultureThis course explores personal experiencenarratives and how they are expressed in thevisual arts by their narrators. In addition, thiscourse focuses on identity and the way in which itis expressed: political, ethnic, and social identitiesserving as markers for social mobility and control.Partner: Homeboy Industries Inc.

Integrated Learning

Integrated Learning

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LA Past Lives: A Virtual ArchitectureThis course will challenge students to reconstructpast physical and social nexuses of neighborhoods/communities in LA combining both architecturaland design components with art, cinema andprivate histories of present and past communitymembers. Students will generate an online archivaldisplay of LA’s past communities as part of thiscourse. Partner: Richard Riordan Central Library

Modern Mysticism and the Afterlife This class explores the concept of the soul/spirit asviewed through modern mysticism, mysticindividuals and social movements. Students willlook into cross-cultural perspectives, rites ofintensification, attend field trips for first-handexperience, attempt to use or perform some ofthese practices and concepts in class. Partner:Hollywood Forever Cementery

Movies That MatterAs artists and designers, students need tounderstand that movies can inspire and educate aswell as entertain. In this class students will gain ahistorical perspective to understand the past andpresent in order to visualize the future. Throughcompelling and entertaining stories, the selectedfilms depict social, political, cultural and gender,racial and ethnic issues. Partner: FilmAidInternational

Museums: Public EngagementThe question of visitor engagement in the work ofmuseums is especially heightened in Los Angeles,one of the world's epicenters for the arts. How canthe rich content of museums function as a usefulresource for the way we live our lives? Canmuseums ignite the muse or inspiration in all ofus? How do popcorn machine of cultural activityand be a place for solitude and contemplation? Canmuseums be a resource for the complex concernsof our time? Partner: Getty Museum

Nurturing Identity and CommunityProyecto Jardin depends on communitycollaboration. The presence of multipleconstituents reveals ways in which people addressemerging issues associated with the globalizedfood economy. Students will learn and employethnographic theories and methods of interviewinggarden patrons. Partner: Proyecto JardinCommunity Garden

The Otis Legacy ProjectThis course focuses on preserving and showcasingthe rich oral, written and visual history of Otisalumni. Students will research selected alumni,place their work in an art historical context, learninterviewing techniques, interview Otis alumni,and write biographies. Partner: Otis AlumniRelations

Public Policy in The ArtsThe LAX airport is developing art installations asan expression of the "public face" of LA. Thiscourse will focus on the management,implementation, selection process, and on goingcommitment to art exhibitions at LAX. Studentswill discover how the public sector buildsrelationships with community partners, serves as acatalyst for the delivery of art, culture and heritage,while offering entertainment at an internationallypublic site. Site Partner: LA Cult. Affairs Dept. and LAX Airport

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DepartmentFaculty

Richard SheltonDirector MFA (Art) Cal Arts, BFA (Media Arts)Minneapolis College of Art & Design. AssociateProfessor/Animation MCAD 1994-2004 Recentexhibitions and clients: Walker Art Center, MN,NEXIT gallery Arnhem, Netherlands, Jung andPfeffer, Amsterdam/Germany. Partner,GD4Love&$. Founded and co-runs theMinneapolis Record Show and Convention.Richard has been teaching at Otis since Fall 2006.

Maura BendettSenior LecturerBA, MFA (Painting) UCLA. Exhibitions: LosAngeles County Museum of Art; Santa MonicaMuseum of Art; Kemper Museum ofContemporary Art, Kansas; San Jose Museum ofArt; Kansas City Art Institute; Arizona StateUniversity Art Gallery; COCA, Seattle; ARC,Vienna; Christinerose Gallery, New York.WESTAF NEA Visual Arts Grant

Adam BergSenior LecturerMA, ABD (Philosophy), Haifa Univ., BA(Philosophy) Univ. of Toronto and Haifa Univ.Studied Academia delle Belle Arte, Rome, Videoand installations shown internationally. Artist-in-Residence, McLuhan Center for Culture andTechnology, Univ. of Toronto; and HeadlandsCenter for the Arts, Sausalito.

Cole CaseLecturerBFA (Fine Art) Art Center; BA (English Lit)Stanford Univ. Painter and Illustrator. Exhibitionsinclude Howard House Contemporary Art, Seattle,WA; Luckman Gallery, CSU Los Angeles;Arizona St. Univ. Art Gallery, Tempe, AZ.Reviewed in The Stranger and Artweek.

Perri ChasinAdjunct Assistant ProfessorMA (Speech Communication) Queens Coll, CityUniv N.Y.; BA (Speech and Language), City Coll,City Univ N.Y. Broadcast writer/producer andspeech and language specialist. Former CBSRecords International executive, NationalCelebrity Coordinator for Hands Across Americaand co-producer of “The Story of Hands AcrossAmerica." Writer and producer of television news,entertainment specials, reality series, live eventsand a critically acclaimed series for public radio.

Andy DavisAdjunct Assistant ProfessorPhD (Performance Studies) New York University;MA (Folklore) UCLA; BA (English) SanFrancisco State University. Writes and curatesmuseum exhibitions on theatre related topics. Hiscompany, Baggy Pants Productions, producesshows and events in the L.A. area. Andy has beenteaching part-time at Otis since Fall 2003.

Isabelle Duvivier Senior LecturerPrincipal, Duvivier Architects. Specializing in ecological architecture, sustainable planning,urban design, and environmental education.Featured in Eco Home Network green buildingtours; Time Warner Cable News; The GreenHouse, on FOX 11 News Network; and Discovery Channel.

Todd A. Erlandson, AIAAdjunct Associate ProfessorMArch, SCI-Arc. BArch, Tulane Univ. Architect.Partner at (M)Arch, a practice with the goal ofcreating significant architecture that succeeds inadding value to the brand with responsiblesolutions, and contributes to the community.

Claudia HernandezLecturerPhD candidate (World Arts and Cultures) UCLA.Specializes in Latina/o religion, spirituality andhealing practices in Los Angeles. Dissertationtopic is “Healing Strategies Among Latina/os atProyecto Jardin Community in Boyle Heights,Los Angeles.”

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DepartmentFaculty

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Integrated Learning

Lara HoadLecturerMA (Architecture) Royal Coll of Art, London, BA(Interior Design) Middlesex Univ. London. ProjectDesigner, M(Arch), Santa Monica. Freelancedesigner and branding consultant in London andSydney for Nike, Toyota, and Vodaphone.

Rogan FergusonAdjunct Assistant ProfessorMS (Architecture) Yale Univ. Former designer forFrank Gehry on design and architectural projects.Principal of Rogan Ferguson Studio, a designconsultancy and instructional workshop thatdevelops complicated curving and sculptural formsutilizing cutting edge software.

Michele Jaquis Coordinator of ACT, Assistant ProfessorMFA (sculpture) RISD, BFA (sculpture,experimental studio, psychology) Hartford ArtSchool/Univ. of Hartford . Interdisciplinary Artistand Educator. Exhibitions and screenings includeSoundWalk, Long Beach, CA; ReelHeARTInternational Film Festival, Toronto, Canada;Victoria Independent Film Festival, Sebastapol,Australia; LA Freewaves Festival of ExperimentalMedia Arts Hollywood, CA; University ofMissouri Gallery of Art; South La Brea Gallery,Inglewood, CA; Gallery 825, Los Angeles, CA.Co-founder of Rise Industries: InterdisciplinaryProjects. Director and Editor, "RECOVEREDJourneys Through the Autism Spectrum and Back"– Best Documentary, The Director’s Chair FilmFestival, Staten Island, NY.

Heather Joseph-WithamAssociate ProfessorMA & PhD (Folklore and Mythology) UCLA; BA(Political Science). Author of many articlesincluding “Ironic Bodies and Tattooed Jews", “The Magical Harry Potter", as well as the bookStar Trek Fans and Costume Art. She hasappeared as a folklore expert on many TV showsand has produced three DVD's: "Alien Images","UFO's in Derbyshire" and "The Costume Art ofStar Trek Fans." Working on a documentary,"Visiting Vampires in the Big Easy". Heather hasbeen teaching full-time at Otis since Fall 1999.

Patricia KovicAssistant ProfessorBFA SUNY Buffalo. Graphic designer andprincipal at Studio Morris. Specializing inbranding and identity systems. Offices in L.A. andN.Y. for Fortune 500 companies. Design awardsfrom the AIGA, N.Y. Art Directors' Club,Communication Arts magazine andCommunication Graphics.

Candace Lavin Adjunct Associate ProfessorBA (Graphic Design) Cal St Univ. Northridge."Dr. Toy" award-winner. Professional experienceincludes environmental graphic design for WaltDisney Imagineering; toys, collectibles, andspecialty gift design for Applause, Warner Bros.,and Disney.

Joyce LightbodyAdjunct Associate ProfessorBFA Coll of Creative Studies. Artist and composerwho blends the poetics of language and meaningwith aspects of notation systems, cartography, andilluminated manuscripts. International exhibitions,as well as significant grants, awards and honors.

Cathy LightfootAdjunct Associate ProfessorBFA Cooper Union; MFA Cal Arts. Paintings and sculpture elaborate on common color, pattern, and pictorial space concepts. Professionalactivities include mural commissions andextensive exhibitions.

Michele McFaullLecturer MA (Art History) and MA (Education,Curriculum and Instruction) UC Riverside, BARegis Coll. MA thesis: "Patroness of the GildedAge: Isabella Stuart Gardner." Active memberCAA, AHSC, Board member of Jonathan ArtsFoundation, LA. and AMA. Michele has beenteaching at Otis since 2000.

Christopher MichligSenior LecturerMFA Art Center. Fine Artist with aninterdisciplinary practice. Represented by JailGallery, Los Angeles.

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Christian MoungerAssociate ProfessorBA (English Literature); BFA Memphis Coll of Art;MFA Claremont Grad School. Fine artist and graphicartist who makes digitally generated photographs.Exhibitions nationally and internationally.

Ysamur Flores-PenaAssociate ProfessorPhD (Folklore and Mythology) UCLA; BA, MA(Education) Catholic Univ of Puerto Rico.Extensive publications including Fit for a Queen:Analysis of a Consecration Outfit in the Cult ofYemaya. Has presented papers at the FowlerMuseum and the St. Louis Museum.

Robert SainSenior LecturerBA Emory Univ. Curator, educator, arts programdeveloper. Experimental exhibitions focused oncommissioning artists and engaging the public.Founding Director, LACMALab.

Kiki SammarcelliAdjunct Associate ProfessorBFA, MFA, Otis. Uses a range of paint surfacesand textures to reveal a sense of humor.Professional activities include an extensive recordof international exhibitions, numerous articles andreviews, public and private collections, andawards and honors.

Michael SchrierProfessorBFA, MFA, Otis. Produces tapestry designs forlarge-scale architectural environments as well asdesigns for apparel. Professional activities includeextensive administrative experience, as well asnational exhibitions.

Jim StarrettProfessorStudied at Pratt Institute. Sculpture and paintingreflects social and political concerns in a varietyof media. Professional activities include multipleWhitney Museum Annuals, a solo show at theWhitney, numerous articles and reviews, NEAVisual Arts Grant.

Kerri SteinbergAssociate ProfessorPhD (Art History) UCLA. Concentrates onmodern art and photography, and has publishedarticles and reviews on visual culture andAmerican Jewish self-representation. Currentlyresearching the critical role played by graphicdesign within popular culture

Joan Takayama-OgawaAssociate ProfessorMA (Education) Stanford Univ; BA (East AsianStudies and Geography) UCLA. Educator andceramic artist whose work is in public collectionsof the Renwick Gallery, Smithsonian Institution,LACMA, and Oakland Museum.

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ProgramGoals

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The Interdisciplinary Concentration is a self-directedprogram that allows students to define a concentration in anarea of study outside of their major. Students complete theconcentration by taking elective courses that satisfyspecific educational goals. Students need to meet eligibilityrequirements to pursue an Interdisciplinary Concentration.

Students in the Interdisciplinary Concentration will…

Interdisciplinary Concentration

• Develop an awareness of interdisciplinarypursuits and relationships in art anddesign practices.

• Increase their exposure to a broad rangeof skills, experiences, and knowledge.

• Pursue a concentration that is self-directed, complements studies in the major, and addresses a particular area of interest.

ProgramDescription

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Interdisciplinary Concentration

The Interdisciplinary Concentration (IC) allowseligible students to choose elective courses fromparticipating departments (see below). Studentschoose courses as electives based on consultationwith their Department Chair and the concentrationchair/advisor. Students in the InterdisciplinaryConcentration may take 14 to 20 elective creditsin their concentration depending on the curricularrequirements of their major, and they register forelective courses on a space available basis.

Participating DepartmentsEligible students inArchitecture/Landscape/Interiors, CommunicationArts, Digital Media, Fine Arts, and ProductDesign departments may pursue anInterdisciplinary Concentration by taking coursesin Architecture/Landscape/Interiors,Communication Arts, Digital Media, Fine Arts,Liberal Arts and Sciences, Product Design, and/orToy Design on a space available basis. FashionDesign courses currently are not available aselective courses to students outside of the major.

Because of the curricular requirements of theFashion Design and Toy Design programs,students in these majors currently are not able toparticipate in the Interdisciplinary Concentration.

Eligibility and EnrollmentRequirementsStudents must have a cumulative and semestergrade point average of 3.0 or higher to pursue aninterdisciplinary concentration.

Students may apply for the InterdisciplinaryConcentration during registration for either thefirst or second semester of the sophomore year.

Under limited circumstances, students maybegin the Interdisciplinary Concentration in thefirst semester of the junior year and must applyduring the registration for the first semester oftheir junior year.

Students will be allowed to register for elective courses in a concentration on a space-available basis.

Any student enrolled in the InterdisciplinaryConcentration program whose semester orcumulative grade point average (g.p.a.) fallsbelow a 3.0 will be placed on “warning.” Twoconsecutive semesters on “warning” willautomatically cause students to default out of theInterdisciplinary Concentration program.

The Application ProcessStudents need to complete an application form,available at the Registration Office. Theapplication includes a statement, written by thestudent, that describes the goals and intentions ofthe Interdisciplinary Concentration.

Approval for participation in the InterdisciplinaryConcentration program rests with yourDepartment Chair, the Chair of the concentrationdepartment, and the Provost. Approval for specificelective courses rests with the Department Chairor advisor for your department as well as thedepartment(s) in which you wish to take electivecourses.

Transfer StudentsTransfer students who apply for and are acceptedinto the Interdisciplinary Concentration uponentering the College need to fulfill degreeprogram requirements through an appropriatecombination of transfer courses and coursescompleted at Otis. Transfer students must have a3.0 grade point average or higher upon enteringthe College to be eligible for the InterdisciplinaryConcentration.

Interested students should see their DepartmentChairs for more details.

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• Pursue excellence in reading, writing,and speaking.

• Hone critical-thinking skills in definingand solving problems.

• Develop the ability to locate, evaluate,and critically use library and electronicresources for research.

• Use multidisciplinary methods of thoughtand inquiry.

• Investigate visual culture, its historicalorigins, and its influence on cultural,intellectual, and artistic structures.

• Value multicultural perspectives andrespect for the diversity of ideas.

• Learn qualitative analysis throughfieldwork.

• Expand quantitative skills.

• Demonstrate creativity.

• Develop interdisciplinary connectionsbetween the liberal arts and sciences andstudio.

• Successfully transition into and out of theOtis Community.

• Develop ethical awareness, social andcommunity responsibility, and lifelonglearning in a global context.

Liberal Arts and Sciences provides students with a diverseand intellectually stimulating environment that cultivatescritical tools, enabling students to become informed,creative artists and designers who are prepared to meetglobal challenges.The curriculum is constructed around thethemes of creativity, diversity, identity, sustainability, andsocial responsibility.

Liberal Arts and Sciences

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Liberal Arts and Sciences Courses and Credits forthe Bachelor of Fine Arts Degree

Distribution RequirementsLiberal Arts and Sciences courses make up 1/3 ofthe course requirement for graduation. These aredistributed among Art History, English, LiberalStudies, Social Sciences, Mathematics and NaturalSciences as shown below; there is a core and somevariation depending upon the studio major.

Categories of CoursesFoundation (FNDT) Courses:Students in all majors are required to fulfill ArtHistory, English and Social Science courses listedbelow in their first year.

Based on the English Placement Test, students maybe required to take the following prerequisites:ENGL 020 ESL; ENGL 050 or ENGL 090.

AHCS 120 Introduction to Visual Cultures (3)AHCS 121 Modern Art History (3)

ENGL 104 Critical Analysis and Semiotics (2)

ENGL 106 Composition and Critical Thinking (3)

SSCI 130 Cultural Studies (2)

Required Courses:Students are required to fulfill all Art History,Capstone, English, Integrated Learning, LiberalStudies, Social Science, Mathematics and NaturalScience courses within the categories below.

Required Elective Course:All students are required to choose one 3-unitJunior Elective in English, or Liberal Studies.

Art HistoryFNDTRequiredEnglishFNDTRequiredSocial SciencesFNDTRequiredMathematicsRequired

ARLI COMD DIGM FASD FINA PRDS TOYD

615

69

69

611

69

69

69

53

53

53

53

53

53

53

23

23

23

23

23

23

23

3 3 3 3 3 3 3

3 3 3 4 3 3 3Natural SciencesRequired

Integrated LearningRequired 3 3 3 3 3 3 3

3 3 3 3 3 3 3LAS CapstoneRequired

LAS TotalCredits

Required Elective Courses3 3 3 3 3 3 3ENGL/ LIBS

49 45 45 46 46 45 45

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By Major:Art HistoryArchitecture/Landscape/Interiors:CRIT 205/206 History + Theory I/II (6)CRIT 305/306 History + Theory III/IV (5)CRIT 405/406 History + Theory V/VI (4)

Communication Arts:AHCS 220 Contemporary Perspectives in Art

and Design (3)AHCS 222 History of GRD/ADVT/ILLUS (3)AHCS 310 Art History Electives (3)

Digital Media:AHCS 220 Contemporary Perspectives in Art

and Design (3)AHCS 310 Art History Electives (6)

Fashion Design:AHCS 220 Contemporary Perspectives in Art

and Design (3)AHCS 310 Art History Electives (3)AHCS 370/371 History of Costume I/II (5)

Fine Arts:AHCS 220 Contemporary Perspectives in Art

and Design (3)AHCS 246 Postmodern Theory and Fine Art (3)AHCS 310 Art History Electives (3)

Product Design:AHCS 220 Contemporary Perspectives in Art

and Design (3)AHCS 225 Product Design History (3)AHCS 310 Art History Electives (3)

Toy Design:AHCS 220 Contemporary Perspectives in Art

and Design (3)AHCS 236 History of Toys (3)AHCS 310 Art History Electives (3)

EnglishAll Majors:ENGL 202 Sophomore English (3)

Social SciencesArchitecture/Landscape/Interiors; CommunicationArts; Digital Media; Fashion Design; Fine Arts;Product Design: SSCI 210 Social Science (3)

Toy Design:SSCI 211 Child Psychology (3)

MathematicsArchitecture/Landscape/Interiors: Math 246 Applied Trigonometry

Communication Arts:MATH 336 Introduction to Symbolic Logic (3)

Digital Media; Fashion Design; Fine Arts; Interactive Product Design; Toy DesignMATH 136 Math For Artists and Designers (3)

Natural ScienceArchitecture/Landscape/Interiors; Communication Arts; Digital Media; Fine Arts:NSCI 307 Natural Science (3)

Fashion Design:NSCI 311/312 Textile Science II (4)

Product Design:NSCI 319 Anatomy & Ergonomics (3)

Toy Design:NSCI 308 Juvenile Anatomy & Ergonomics (3)

Liberal StudiesCommunication Arts:LIBS 404 Senior Project/Research Paper (2)

Digital Media:LIBS 217 Concepts & Issues in Media Arts (2)

Fine Arts: LIBS 455 Senior Thesis (3)

Product Design:LIB 235 Economics and Product Market (2)

Toy Design:LIBS 454 Business Practices (2)

Integrated LearningAll majors: ILML 200 Integrated Learning Lecture (3)

LAS CapstoneAll majors: LIBS 440 LAS Capstone (3)

Required Elective CourseAll majors:ENGL/LIBS Elective (3)

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Foundation Level Liberal Studies

Note: Initial placement in English courses isdetermined by the English Placement Assessment.In order to pass ENGL050, ENGL090, andENGL106 and continue in the sequence, studentssubmit a portfolio of their best writing to theEnglish department faculty for evaluation.ENGL020, ENGL050, and ENGL090 are takenfor general credit only and do not apply towardsBFA degree requirements. Completion of orconcurrent enrollment in English throughENGL106 Composition and Critical Thinking is arequirement to continue in all Liberal Arts classes.

Learning e-portfolioAn e-portfolio is a purposeful electronic collectionof work focused on learning and reflection.In foundation year, students will set up an e-portfolio within the college's course managementsystem. In all Liberal Arts and Sciences classesthey will select one artifact that they feel bestrepresents the learning outcomes of the course andtheir work in that class, and post that in their e-portfolio along with a reflection on why they choseit . The e-portfolio will culminate in LIBS440, thesenior capstone course.Transfer students willestablish their eportfolio in a special orientation.

The First Year InitiativeOffered as a part of first-year English classes, theFirst Year Initiative (FYI) helps diverse art anddesign students successfully transition into theOtis Community.

The Honors ComponentThe Liberal Arts and Sciences department offers afour year honors component for students whoqualify by their intake score and EnglishPlacement evaluations.The Honors componentconsists of Honors Junior Elective, ENGL 106and ENGL 202 Honors English, SSCI130 HonorsCultural Studies, an Honors Liberal StudiesElective and LIBS 440 Honors Capstone.

Qualified transfer students may join the Honorsand Capstone components for AHCS 220Contemporary Perspectives in Art and Design andthe Junior Liberal Studies elective.

Foundation (FNDT) Courses:AHCS120H Honors Intro. to Visual Culture (3)AHCS121H Honors Modern Art History (3)ENGL106H Honors English (3)ENGL202H Honors Literature (3)SSCI130H Honors Cultural Studies (2)

Sophomore Year:AHCS220H Honors Contemporary Perspectives inArt and Design (3)

Junior Year:ENGL400/LIBS410H Honors Junior Elective (3)

Senior Year:LIBS440H Honors Capstone (3)

ENGL106H and ENGL202HHonors English is a two-semester course of studyof modern and contemporary literature, with anemphasis on experimental writing, and the criticaland theoretical concepts that inform and describe it.

Those who complete the sequence are not requiredto take ENGL 104 Critical Analysis and Semiotics.To replace these credits, after completion of ENGL 202 Introduction to Literature, they maytake any LAS elective.

AHCS 120H, AHCS 121H, and AHCS 220H.The Honors Art History sequence offers a morechallenging approach toward the material coveredin the regular Introduction to Visual Culture,Modern Art and Contemporary Perspectives in Artand Design courses.

ENGL 400/LIBS 410 Junior Liberal Studies electiveThis Honors Junior elective will address a selectedtopic each year through an interdisciplinaryapproach.

LIBS 440H Honors CapstoneThis course will give Honors students theopportunity to discuss, critique, and write abouttheir experiences over the past four years inrelation to their general education, their majorfields, and their senior projects.

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Creative Writing InterdisciplinaryConcentrationThe Interdisciplinary Concentration in CreativeWriting offers art and design students anopportunity to give voice and shape to theircreativity through a variety of written expressiveforms. The concentration provides guidance andsupport to students in a structured environment todevelop their writing, and an exciting way toexplore their personal visions through workshopsand lectures.

Cultural Studies InterdisciplinaryConcentration Why do people behave as they do? TheInterdisciplinary Concentration in Cultural Studiesgives students the opportunity to explore thisquestion within this exciting field throughcoursework, independent study, on-site fieldresearch and an internship. Students will learn tomake connections between their artistic skills andeducation through both analytical and practicalapplications of cultural studies.

Art History Interdisciplinary Concentration The Interdisciplinary Concentration in Art Historyoffers students an opportunity to focus on anexpanded range of historical and cultural ideasabout art and art making. The concentrationprovides a guided and structured approach todiverse critical methods for exploring the culturalcreation, meaning, dissemination, and impact ofvisual images, objects, and practices.

Paired Class Developmental English II andIntroduction to Visual Culture These tied first year courses are for students whosefirst language is not English. Many of the readingand writing assignments are connected, using theDevelopmental English class as a supportivemedium to the art history course.The course servesas a bridge to the academic mainstream courses.Eligible students are identified through the EnglishPlacement Assessment.

Art History Courses

Introduction to Visual Culture AHCS120 3 creditsThis course introduces students to the majormethodological and critical approaches used in art

history and criticism. Lectures and discussionsfocus on similarities and differences betweentheoretical agendas, the significant and nationalcontexts in which these theories developed andtheir relevance to art making and critical practice.This course consists of a weekly lecture and classdiscussion.

Modern Art History AHCS121 3 creditsThis is a comprehensive survey of nineteenth-andtwentieth-century European and American modernart that reviews and discusses the major movementsfrom a contemporary perspective. Beginning withRealism and concluding with AbstractExpressionism, the course examines the politicaland social context of each period, significantartists and works, and the issues of modernity.

Contemporary Perspectives in Art and DesignAHCS220 3 creditsThis course outlines contemporary art and design,as well as contemporary culture and its socio-political context and theories from 1960 to thepresent. It looks at the change from Modernart/design to Postmodernism art/design and focuseson the relationships between contemporary fine artand other fields such as graphic, fashion, andproduct design, architecture and digital media. Itconsiders the role that popular culture, mass mediaand institutions of privilege play in all creativepractices and looks critically at how contemporaryart and design blur standard Modernist barriersbetween high and low art, fine art and design, theWestern canon and more global viewpoints.

History of Graphic Design, Illustration, andAdvertising DesignAHCS222 3 creditsThis course provides a critical and contextualized chronological survey of graphic design, illustration,and advertising. Students study how these disciplinesresponded to and affected political, cultural, andsocial changes with a primary emphasis on the 20thcentury. Required for all Graphic Design,Illustration, and Advertising Design majors.

Product Design History AHCS225 3 creditsThis course provides an introduction to therelationship between design and functionality in


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objects created throughout human history. Anemphasis is placed on understanding designedobjects in their broad socio-cultural context.Special emphasis is placed on consumer productssince the Industrial Revolution. Required for all Product Design majors

History of Toys AHCS236 3 creditsThis course provides a historical, cultural, andsocial perspective on toys and games withdiscussions on their creation and use throughoutthe ages. By the end of the semester studentsbetter understand the meaning and importance oftoys and play, learn how and why differentcultural groups create and use various toys,understand the evolution of the global toyindustry, learn the origins and culturalimplications of several classic toys, and areexposed to inventors who have made significantcontributions to the field. Required for all Toy majors.

Postmodern Theory and Fine ArtAHCS246 3 creditsThis class covers the major theories and conceptsof Postmodernism, tracing their sources fromantiquity to the present and analyzing their impacton and connections to contemporary Fine Art.Required for all Painting, Photography, andSculpture/New Genres majors.

History of AestheticsAHCS312 3 creditsFrom the ancient Greeks to the present,philosophers have debated the meaning andpurpose of art. This course provides a frameworkfor contextualizing background of influentialaesthetic philosophies of the past from bothWestern and non-Western perspectives. Requiredfor all Fine Arts majors in the ACT program

History of Photography AHCS 321 3 creditsThis course surveys the history of photography asan art form from 1839 through the present.Students examine both technical and aestheticdevelopments through a chronological review ofmajor figures and movements. The impact ofpopular culture upon photography in the 20thcentury is also explored.

Art History and Theory Electives Course offerings vary each semester. Studentsmay choose from the following offerings:

Fashion Culture: Fashion in Social Space AHCS310 3 creditsThis course critically examines the way in whichfashion is an embodied activity that is embeddedwith social relations. Emphasis is on the formationof identity through fashion's articulation of thebody, gender, and sexuality.

Garb(ing) IdentityAHCS310 3 creditsEveryone dresses, and for everyone, dressing,regardless of how minimal, is a social construct.This is the starting point for a course thatinvestigates the complex matrix of relationships,associations, and meanings of contemporary dress,including its intersections with fine art and visualculture.

Art on the Global StageAHCS3103 unitsThis course will engage contemporary artpractices in relation to social phenomenon ofglobalization. Globalization as a concept is hotlycontested and eludes definition. Clearly itengenders a sense of ever expandingcommunications, a market that reaches andimpacts indigenous localities and cultures andchallenges difference through the dissemination oftransnational uniformity. But how does art operatewithin Globalization? What are the artisticand cultural responses and challenges to this newphenomenon? We will explore these issuesthough discussions, screenings, collaborativeprojects and students; presentation.

Asian Film: New Chinese Cinema AHCS310 3 creditsThis course looks at emerging Chinese films andfilmmakers beginning with the pre-1980s andcontinuing through "the 5th generation." Studentsinvestigate the ways in which these filmmakerstried to break the mold of the past, both in styleand content, in order to convey the truth ofmodern Chinese life.

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Baroque and the Rococo WorldAHCS310 3 creditsThis course investigates the social, religious, andcultural changes that arose from 1600-1750 inEurope, and how the art and architecture thatdeveloped during that period both molded andreflected the changes in social class, gender,worldview, and lifestyle.

California Dreaming AHCS310 3 creditsFar from being a west coast outpost of New York,the art scenes in California had a significantimpact upon the shaping of contemporary art. Thiscourse emphasizes contemporary art makingincluding film, ceramics, installation,performance, and fine art.

African Art HistoryAHCS310 3 creditsThis course will examine some of the major artforms of Africa, including architecture, textiles,masquerade, and sculpture. The class will focuson the artist, the creative process, and the dynamicthat occurs between the creative process andrequirements of the piece’s function. The classwill also look at how the function and creativeprocesses change when the piece moves into anAmerican environment.

Afro-Caribbean Art AHCS310 3 creditsThis course examines the art and culture of PuertoRico. Students identify issues of race, identity, andcultural projection as reflected in the arts alongwith themes of continuity, change, and foundationmyth that inform the way in which the countrydefines its position in Latin America, and morerecently, North America.

Capstone: Creativity in Art and DesignAHCS310 3 credits (Seniors Only)The capstone course offers seniors the opportunityto discuss, critique, research and write about atopic they find to be of compelling interest. Thetopic should intersect in some significant waywith the student's studio practice, discipline,career aspirations, and also with one's work inLiberal Studies. It is a truly unique opportunity toreflect on one's education informs one's creativityas an artists and designer.

Capstone: Identity in Art and DesignAHCS310 3 credits (Seniors Only)This capstone course offers seniors theopportunity to discuss, critique, and write abouttheir experiences over the past four years whetherin relation to their general education, their majorfields, or their senior projects. It is a truly uniqueopportunity to reflect on one’s education, theexpectations that one arrived with, the knowledgeand skills that one has gained and how theseexperiences have, can, and will shape one’sidentity as artists and designers. Throughdiscussion and reflection, students will identifyand write about individual issues and concernsthat they believe are the most critical in evaluatingtheir college experience and themselves asartists and designers.

The Classical WorldAHCS310 3 creditsThis course will investigate the cultures of ancientGreece and Rome, looking not only at the artthey produced, but also at how they identified anddistinguished themselves from other culturesin their world.

Design in FluxAHCS310 3 creditsThis course addresses both the impact and theimpetus of change and sustainability in art anddesign in connection with chaos theory and fieldsof research that probe complexity, transitionfrom chaos to order and the instability andunpredictability of phenomena. Chaos theory haschallenged the traditional view of order anddisorder, suggesting not only a new understandingof complexity and organization in the naturaldomain, but in culture as well. Students willexercise this paradigmatic change in science thathas affected cultural production and in terms ofdesigning in flux.

Modernism in Mexico AHCS310 3 creditsModernism came to Mexico in unique ways: viathe studies abroad of major figures like DiegoRivera; via visits of modernist thinkers to Mexicosuch as Andre Breton, Edward Weston, and TinaModotti; and via the political revolutions thatrocked Mexico from 1920-30. This courseexamines the artistic and cultural consequences ofthese multi-faceted inputs and analyzes their


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impact on the unique nature of the MexicanAvant-garde.

History of American Film I: 1900-1950 AHCS310 3 creditsThis course surveys the art and business ofAmerican film in the first half of the 20th century.The approaches include film and sociology, filmgenres, and the great American directors.

History of American Film 2; 1950-PresentAHCS310 3 creditsThis course surveys the art and business ofAmerican films in the second half of the 20thcentury. The approach includes film andsociology, film genres, and the great Americandirectors.

Art and Art Criticism AHCS310 3 creditsThis course provides a historical overview of therelationship between art making, art viewing, andart writing within the appropriate social andeconomic contexts. Theory is paired with art,showing how certain aspects of a work of art arehighlighted from particular theories.

Hollywood on HollywoodAHCS310 3 creditsThis course explores the cultural and historicalconception of “Hollywood” through the selfreferential movies about the Hollywood filmindustry. We will screen key “meta-movie”narratives from their emergence as a genre in the1920s to the Classic Hollywood studio systemera and through to the contemporary Hollywoodmedia-scape. This course will also considerhow other genres (experimental, documentary)and technologies (television and digital media)continue to portray a post-modern Hollywooddiscourse.

Latinas in American FilmAHCS310 3 creditsThis course examines the representation of Latinasin American film from early cinema to thepresent. It will explore the ways in which theLatina body, marked by race, ethnicity, class,gender, and sexuality is used to produce meaningabout Latinidad in the United States, and howthose conceptions have shifted over time. Thiscourse encourages media literacy and challenges

students to consider the power of the movingimage in regard to how people understand theirown and other’s place in society.

Film and Film TheoryAHCS310 3 creditsUsing an international scope, film as art form isstudied within a historical context as amanifestation of material culture. Usingpostmodern theories, this course studies film as anartistic expression that evolved into a mass mediawith an unprecedented impact on society. Thestudent learns not only the history of film but alsohow to "go to the movies" with a more criticalattitude.

Film GenresAHCS 310 3 CreditsThis course examines three film genres that engageconcerns about science and the environment, lawand lawlessness, and representations of truth andidentity. Sci-Fi will be devoted to science fictionand this genre’s focus on ecological andenvironmental issues, technology, political dissent,and social divisions. The crime segment willanalyze depiction of race, gender, and class as wellas economics, social order, and post-war strife. Thefinal section will look at biopics about artists,musicians, writers and the sometimes controversialportrayal of creativity and the artistic process inrelation to modern and postmodern notions of truthand identity.

Film NoirAHCS 310 3 CreditsThis course examines the film noir genre ofAmerican film in its various aesthetic and socio-cultural contexts. This will address the changingpolitical and gender forces in American culturefollowing World War II that influence keyclassical Hollywood films and the genre’stransnational appeal and appropriation byEuropean filmmakers who used the film noir styleto create new postwar genres. Students will alsoanalyze the formal aspects of film noir as both amovement and a style by studying narrative,editing, cinematography/lighting, mise-en-scèneand sound

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Horror FilmAHCS310 3 creditsThis course examines the horror film genre withina range of cultural, theoretical, and historicalcontexts. We will consider the ways the genrecelebrates and defiles the body; representsviolence, fear, and paranoia; defines gender, class,race, and sexuality; and provides a range ofmeanings and pleasures for its audience.

Art in the Field of Cultural Production AHCS310 3 creditsAn examination of the life of any artist can reveal significant networks of social, political, andeconomic relationships that, in turn, shape theartist's career in the art world and, ultimately, ourunderstanding of the art. This course fills the gapbetween traditional art history and biographicnarrative, replacing the artist within the "field ofcultural production."

Islamic Art AHCS310 3 creditsThis course is a contextualized overview ofIslamic art, both historical and contemporary.Students investigate the traditional Islamicpractices as well as look at works of contemporaryDamascus artists.

19th Century Visual CultureAHCS310 3 creditsThis course explores the totality of the visual inthe 19th century, including fashion, furniture, film,architecture, photography, illustration, advertising,and fine art.

Photo CultureAHCS310 3 creditsThis thematically organized course acquaintsstudents with the role photography has played inthe production of culture. The emphasis is on howphotographs have been mobilized to construct andcritique particular images of groups of people, tosell products, and to reinforce social conceptionsof class, race, and sexual difference.

Representations of WarAHCS310 3 creditsThis class explores concepts related to warembedded in visual artifacts from early culture tothe twentieth century. Particular attention will bedirected to the shifts in dominant media from

sculptural manifestation to the modern media offilm, video, and the internet.

Mary in Folklore and BeliefAHCS310 3 creditsLike no other figure, the Virgin Mary can beascertained as the most influential female inWestern culture. Celebrated in songs, poetry,plastic and graphic arts, and politics, her influencepervades every aspect of our culture. This coursewill study the ways in which folk art and folkbelief adds yet another layer of meaning to theidea of Mary. We will study folk narratives andfolk representation of Mary in the visual arts aswell as folk traditions.

Signs, Rituals, and PoliticsAHCS310 3 creditsThis course examines the semiotics of ritual andthe politics of ritual through an interdisciplinaryapproach combining visual and cultural analysis.Issues will range from how ritual behavior isembedded in visual communication to its impacton political discourse. Students explore semioticsof ritual and politics, ritual behavior in religionand institutions, and mass-media representationthrough rite and signification. The first sectionfocuses on key semiotic and cultural analyseswhich will later be applied to assigned fieldprojects.

Semiotics and Visual CommunicationAHCS310 3 creditsThis course is an advanced study of visual cultureand its communicative outlets and manifestations.The course explores a range of semiotic analyseswith an emphasis on their applicability to visualculture. The course will build on the issuesintroduced in Visual Culture and Critical Analysisand Semiotics, and will follow a systematicsurvey of basic methods and topics in visualcommunication analysis.

Advertising the American DreamAHCS310 3 creditsFrom the “big idea” to the text-less ads,advertising occupies a prominent position withinthe cultural landscape of capitalist America. Thiscourse explores American advertising in itsvarious frontiers, taking into consideration howadvertising constructs national, social, cultural,political, and gender identities.


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Action/Reaction: The Art of Hong KongFilmsAHCS310 3 creditsFor decades, Hong Kong cinema dominated theAsian market. Eventually, its energy andinnovation attracted international attention. As theterritory faced transition from British rule back toChinese rule at the end of the ’90s, its cinemareflected the nervous energy of impending change,as well as an attempt to grasp something lastingduring the maelstrom. Through the films ofdirectors such as John Woo, Tsui Hark, and WongKarwai, this course looks at those competingenergies.

Yellow Face: Perceptions of AsiansAHCS 310 3 CreditsIn the first half of the 20th century, manyAmericans understood Asia and Asians fromliterature and feature films such as BrokenBlossoms, The Good Earth, Charlie Chan and FuManchu movies. Many of these stories werebased on passing knowledge gleaned from spottyaccounts and Chinatown, and colored by a need tocreate the Exotic Other. Some films demonizedAsians; others made them into heroes. Thiscourse explores both the construction/impositionof racial identity, some of the real results in termsof widespread prejudices and restrictivelegislation, and the creation of iconic images andwhat we now consider stereotypes.

Media/IndustriesAHCS310 3 creditsMedia/industries examines the collision andcollusion of the entertainment industry with avariety of other industries, including those thatproduce consumer products such as apparel, toys,books, as well as posters, billboards, television,print, and digital advertisements. The structureof the entertainment industry will be discussedhistorically and contemporarily, and we will viewthe development of film, radio, television, videogames, and other digital media through thelenses of consumerism, marketing, industrialanalysis, and politics. This course will alsoexamine how individual films, television shows,and video games create brands which are thenused to generate a host of new consumer products.

Photo-documentary CultureAHCS310 3 creditsThis is a thematically organized course designedto acquaint students with the role photographyhas played in the production of culture. Theemphasis will be on how photographs have beenmobilized to construct and critique particularimages of groups of people, to sell products, andto reinforce social conceptions of class, race, andsexual difference.

Postcoloniality and the DiasporaAHCS310 3 creditsThis course will look at contemporary art thatresponds to the aftermaths of colonial rule or thosepeoples who have fallen under the rule ofcolonizers, such as African and Middle Easternpeoples. In addition, students will explore howartists reckon with issues of national and culturalidentity, gender, and race and ethnicity afterImperial rule has left, and looks at art by peoplewith a history of displacement and from countriesravaged by war and disaster. The focus willbe on conceptual, photographic, video and body art.

Survey of Pre-Columbian ArtAHCS310 3 creditsThe cultures of the Americas produced amarvelously diverse range of art and monumentalarchitecture. This course, which surveysindigenous American arts produced in antiquitythrough the European contact period, will acquaintthe student with key cultures of AndeanSouth America and Mesoamerica. Students willlearn to recognize the major artistic stylesassociated with each group, and learn to analyzeindigenous visual cultures in terms of social,religious and political contexts.

Mesh of CivilizationsAHCS310 3 creditsHow do we know what we know about Islam?Where do the images come from? The courseexamines post-9/11 debates through fine art andpopular imagery, travel writing and tourism,fiction, film and fashion. Rather than an inevitableClash of Civilizations between “Islam” and “The West,” it suggests, through their intertwinedhistories, possibilities beyond the rhetoric offanaticism and war. Above all it is concerned withintercultural communication as an issue ofeveryday ethical practice

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Film History through HitchcockAHCS310 3 creditsThrough an examination of the director’s rolewithin the British and the US film industries fromthe 1920s to the 1970s, this course analyzes aselection of films by Alfred Hitchcock. Thesefilms are evaluated in terms of their aesthetic,cultural, political, and ideological characteristics.Emphasis on auteurism and genre studies.

Art, Technology, and WarAHCS310 3 creditsArtists and cultural producers have always usedtheir art to respond to war and its ensuingconsequences. At this historical moment there is aproliferation of politically and socially engaged artconcentrating on the intersections of war andtechnologies of power. In this course, studentsexamine historical and contemporarymanifestations of this “art of conscience” andexplore the ideological contexts through whichwar and violence are viewed and articulated. Theyraise questions about the role of art in relation tothe futility of war, and engage how art andtechnologies of production (from painting todigital media) can prompt society to visualize newways of resolving international conflict.

Shamanism, Art, and Sacred SpacesAHCS310 3 creditsThis course explores the role of art in creatingaesthetic idioms to construct sacred spaces thatreflect the culture and beliefs of diverse societies.

Text and ImageAHCS310 3 creditsThis course explores the conjunction of thewritten and the visual across various media(painting, print, film, photography), in variousdisciplines (advertising, fine arts, literature,photojournalism). From Futurist “freeword”poetry to the 1955 Family of Man exhibit,students will consider how words and imagescombine to create meaning and pose the question:What constitutes a text?

The American WayAHCS 310 3 CreditsAlmost immediately following the War ofIndependence, American leaders began grapplingwith the issue of what constituted American art.How should a president be pictured? What kind of

architecture was appropriate for the capitol? Whatdo we do with the nude? If every great nation hadgreat art, what should American art look like andwho should decide? These were the questions andthey raised a variety of answers, issues, andconcerns. In this course, students will investigatethe historical development of American art, theAmerican artist, and the American public from theColonial period through early Modernism.

The Classical WorldAHCS 310 3 CreditsThis course will investigate the cultures of ancientGreece and Rome, looking not only at the art theyproduced, but also at how they identifiedthemselves as distinguishable from other culturesin their world. Through looking at the art andartifacts they produced, the course will examinethe religious, economic, and social bases for thesedifferences and explore the relations Greece andRome had with other groups, whether in terms oftrade, warfare, or diplomacy as well as see howthe actions of both have impacted our world today.

Video and Body Art in/and ContemporaryArt, ca. 1960-2000 AHCS 310 3 CreditsThis is a 10-week online course offered duringSummer that explores “artworks” and artists whouse video and/or their body/self as artwork. Thiscourse will trace the histories, theories, anddevelopments of both video and body art, giveneach are often interrelated. Also, in this course wewill discuss how this work relates tocontemporary art as a whole. Every two weeks wewill reckon with a decade, and we will often focuson artist’s videos and/or body art practices and/ora related art movement as a “case study” to seehow video and body art relates to the “biggerpicture” of contemporary art from 1960 to 2000.

History of AestheticsAHCS312 3 creditsFrom the ancient Greeks to the present,philosophers have debated the meaning andpurpose of art. This course provides a frameworkfor contextualizing background of influentialaesthetic philosophies of the past. Required forstudents in the Teacher Credential PreparationTrack of the ACT Program. Can be taken as anelective for all other students.


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History of Photography AHCS321 3 creditsThis course surveys the history of photography asan art form from 1839 through the present.Students examine both technical and aestheticdevelopments through a chronological review ofmajor figures and movements. The impact ofpopular culture upon photography in the 20thcentury is also explored. Required for allPhotography majors.

Special Topics AHCS310 3 creditsEach semester, special topics courses are offeredin some of the following areas. See the LiberalArts and Sciences Department for coursedescriptions.

20th Century Costume AHCS370 2 creditsThis course is an in-depth study of fashioncreators, trends, and the political climate that hascreated men’s and women’s fashion during the20th century. Required for Fashion Design majors.

Ancient and Ethnic Costume History AHCS371 3 credits This course focuses on the study of clothing fromprehistoric costume to the 19th century, and thefactors that influence style changes. This coursesurveys costume from its ethnic origins throughadaptation and assimilation into “fashion” trendsin each century. Required for Fashion Designmajors.

Theory and Critical Studies Courses

History + Theory I: Prehistory to Industrial EraCRIT205 3 creditsThe manifestation of cultural, political, religious,and economic forces through architecture,landscapes and interiors from prehistory to theadvent of the industrial era is surveyed.Required for Architecture/Landscape/Interiorsmajors.

History + Theory II: Industrial Era to thePresentCRIT206 3 creditsThe manifestation of cultural, political, religious,

and economic forces through architecture,landscapes and interiors from the industrial era tothe present is surveyed.Required for Architecture/Landscape/Interiorsmajors.

History + Theory III: ContemporaryTheories and Practices in ArchitectureCRIT305 3 creditsA diversity of critical and generative approachesto twentieth century design is situated historicallywhile introducing current themes and debates incontemporary architectural practice and relateddisciplines. Prerequisite: CRIT206 History + Theory II.Required for Architecture/Landscape/Interiorsmajors.

History + Theory IV: After Urbanism.CRIT306 2 creditsThe emergence of the metropolis in the 20thcentury is examined through the forces thatproduced this unique collective form as well asthe various attempts to regulate, accelerate orchannel those forces and forms. TraditionalEuropean models, contemporary Americancityscapes, mutated forms of urbanism in Asia,Africa, and elsewhere are diagrammed throughtechniques of urban mapping from figure-groundto datascapes. Prerequisite: CRIT305 History + Theory III.Required for Architecture/Landscape/Interiorsmajors.

History + Theory V: Corporate andConsumer EnvironmentsCRIT405 2 creditsThe complicity of interior organizations with theincreasing collapse of labor and leisure isdemonstrated through an examination of thespaces of work and consumption. Ergonomics,office landscaping, corporate parks, brandscapes,junk space, malls, themed environments,surveillance, and spectacle are addressed. Prerequisite: CRIT305 History + Theory III. Required for Architecture/Landscape/Interiorsmajors.

History + Theory VI: Landscape Theoryand PracticeCRIT406 2 creditsLandscape as a system of representation andperformance is studied through the tradition of

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formal and picturesque gardens, the discourses ofthe beautiful and sublime, urban parks, theintegration of modernism and landscape, earth art,everyday and extreme landscapes, industrial andnatural ecologies, and the emergence of"landscape urbanism." Prerequisite: CRIT305 History + Theory III. Required for Architecture/Landscape/Interiorsmajors.

English Courses

English for Non-Native Speakers ENGL020 3 creditsESL class for speakers of other languages whorequire a semester of intensive English languagestudy. Grammar, writing, reading, vocabularydevelopment, and speaking skills are practicedand reviewed with a focus on the particular needsof the ESL student. In addition to the scheduledclass, students are required to complete threehours weekly in the tutorial lab. Because ofsignificant language demands in other Liberal Artsclasses, students in this program enroll in Mathfor Artists and Designers and do not enroll in arthistory. A minimum grade of "C" (2.0) is requiredto pass this course. Special fee: $1,000

Developmental English I ENGL050 3 creditsDevelopmental English I is a lower division classfor both native and non-native speakers ofEnglish. Students must have a fundamentalknowledge of the English language, but needadditional work in basic skills. The class focuseson unity, coherence, and sentence structure inwriting, and analysis in reading short non-fictionworks. Students are also required to complete twohours weekly in the tutorial lab. A minimum gradeof "C" (2.0) is required to pass this course. Prerequisite: Successful completion of ENGL020English for Non-Native Speakers or placementthrough the English Placement Exam.

Developmental English II ENGL090 3 creditsThe skills of invention, drafting, revising, andediting are practiced in four to five essays thatinclude at least three drafts each. Students writenarratives, text-based essays, persuasive essays,etc., along with reading short non-fiction works. A

minimum grade of "C" (2.0) is required to passthis course. Prerequisite: Successful completion of ENGL050Developmental English I or placement through theEnglish Placement Exam.

Critical Analysis and Semiotics ENGL104 2 creditsCritical Analysis and Semiotics (CAS) exploresthe world of cultural signs (semiotics) whiledeveloping a number of skills: critical andanalytical reading, effective academic writing,evaluating information, and participating in college-level discussions. The reading materials and topicsexamined this semester will concern popular culturewith a special emphasis on gender studies, medialiteracy, technology and human interaction, theAmerican national character, and issues of powerand ideology. In addition, we will explore issuesrelated to larger themes of creativity, diversity,globalism, identity, social responsibility and sustain-ability. The course will build upon already acquiredpopular cultural literacy to enable students toexplore familiar phenomena within the context ofthe academic world. The First Year Initiative isembedded within this course. A minimum grade of"C" (2.0) is required to pass this course. Prerequisite: Successful completion of ENGL090Developmental English II or placement through theEnglish Placement Exam.

Composition and Critical Thought ENGL106 3 creditsThis class focuses on the development andrefinement of students' rhetorical skills throughthe lens of the relationship between images andtext. Students are expected to express their ideaswith clarity of purpose in a logical, organizedmanner in four to five longer essays which, inaddition to all the skills emphasized in theprevious classes, also demonstrate criticalthinking, style, logic, voice, development, andsyntactic sophistication. Students also studymodels of argumentation. A minimum grade of"C" (2.0) is required to pass this course. Prerequisite: Successful completion of ENGL104Critical Analysis and Semiotics or placementthrough the English Placement Exam.

Honors EnglishENGL 106H and 202H 3 credits (two semesters)Honors English is a two-semester course of studyfocusing on modern and contemporary literature.


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Students read drama in the fall and short fiction inthe spring. In both cases there is a strong emphasison exploratory writing techniques and styles, andparallel readings in critical theory.

Sophomore English Course offerings vary each semester. Studentschoose one course from the following offerings:

Introduction to Creative Writing ENGL202 3 creditsThis course focuses on the fundamentals ofcreative writing including fiction, drama, andpoetry; study and application of forms, techniques,and literary elements. Workshop experienceprovides an opportunity for analyzing andcritiquing student writing.

Speech ENGL202 3 creditsFrom Jesus of Nazareth's Sermon on the Mount toWinston Churchill's rallying a beleaguered Britain,to General Douglas MacArthur's "Old SoldiersNever Die," to Susan B. Anthony's call forwomen's suffrage, this course contains the finestexamples of speechmaking and speechwriting inhuman experience. Historical context, techniques,and audience are analyzed with students applyingthese insights to their writing and delivering ofspeeches.

Introduction to the Short Story ENGL202 3 creditsThis course includes reading and discussion ofselected short stories emphasizing analysis,interpretation, and evaluation. The course focuseson the short story as a genre and as a source ofsignificant insight into the human condition.

Film as Literature ENGL202 3 creditsStudents analyze narrative conventions in worksof literary fiction and in film with attention to thesimilarities and differences between literacy andfilm art. They learn to appreciate the literarydevices and styles evident in individual works andthe commentary made by these works on moral,social and aesthetic issues. The course includesdiscussion of adaptation issues.

Interpretation of Fairy Tales ENGL202 3 credits

Fairy tale characters are archetypal images present atthe deepest level of our psyches. They have enduredbecause they portray a vivid psychological realitythrough which we can gain an understanding ofourselves. This course analyzes selected fairy talesfrom many points of view.

African American Narratives ENGL202 3 creditsBecause there is no one monolithic "AfricanAmerican community," this course studies a broadsampling of various narratives dealing with African American experiences. Some of the themesexplored deal with questions of identity andcommunity, assimilation and nationalism, inter-racial relations, classroom, and artistic freedom.

Digital StorytellingENGL202 3 creditsTechnology and the age-old craft of storytellingintersect. This hands-on course explores the artand craft of storytelling in new formats like theweb, videos and other nonlinear media. Studentswill conceive, design and develop a fullyfunctional multimedia story and learn aboutwriting, plot character development, interactivityand much more along the way.

Chocolate as MetaphorENGL202 3 creditsThis course is designed specifically around theexploration of chocolate as a symbolic metaphorpervading contemporary literature, advertisingand cinema. Students will be given anintroduction to chocolate: its history, popularityand multiple cross cultural manifestations andmeanings outside of the stereotypical Valentine’sDay love connection. Students will read fictionwhere chocolate is a dominant element andhopefully discover that chocolate is a uniquecharacter. Students will also watch movies tocompare the use of the chocolate from book tofilm to see if chocolate is at all transformed in theprocess.

The Literature and Films of MadnessENGL202 3 creditsStudents will read poems, fiction, and nonfictionto study how mental illness is depicted inLiterature. Through works such as The Bell Jar,One Flew Over the Cuckoo’s Nest and Catcherin the Rye, students will explore various identities,

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the creative process, and the representation ofmental illness in society and literature.

The New Testament as LiteratureENGL202 3 creditsStudents will explore the varied genres, structures,and narrative devices used in the writings whichconstitute the New Testament. Students will alsostudy the many historical and contexualunderstandings of the New Testament, togetherwith its impact on religious and secular cultures.Special attention will be paid to narratives whichhave substantial reference in art and literature. Noprior knowledge of the Bible is assumed.

Harry Potter: Literary Tradition andPopular CultureENGL202 3 creditsThis course will examine the Harry Potterphenomenon in terms of its folkloric origins,literary structure, and its effect on popular culture.Students will critically analyze the various themesand values expressed through Rowling’s books inan effort to understand how and why Harry Potterhas made reading fun again.

Text and Image ENGL 202 3 credits:The class will examine a range of image-textrelationships from alphabet formation to the text-based work of contemporary visual artists such asXu Bin, Hanne Darboven, and Barbara Kruger.Studies will extend from William Blake’s “visiblelanguage” through “concrete” poems by the likesof e.e. cummings and Guillame Apollinaire toekphrasis and the use of “image narrative” incontemporary poetry. The class will addressimage-text relationships in photographic bookssuch as Jim Goldberg’s Rich and Poor and inTrenton Doyle’s graphic novel Me A Mound aswell as the ways in which image-text converge onthe big screen and electronic media.

Reel Docs ENGL 202 3 creditsThis course will present nonfiction cinema aboutreal individuals and critical issues that shape ourlives and the world in which we live. Focusing ondocumentaries as agents of social change, we willencourage dialogue and exchange, examining thestories, the processes and the creative possibilitiesavailable through the art of nonfiction filmmaking.

Creative NonfictionENGL202 3 creditsWriters of Creative Nonfiction may use thestandard elements of fiction or poetry to writeabout current events, personal experiences orsocial issues. In this course students will beexposed to the different techniques, styles,structures and strategies of writing creativenonfiction, through the use of readings, exercisesand practice. They will enhance their writing skillsusing the tools presented, as well as observationand reflection.

Time Travel Narratives ENGL 202 3 creditsThis online course taught in Summer offers anadventurous journey into the multiple timelinetheories found in literature, film, anime andtelevision. Students will explore a variety oftemporal narratives and discuss the significanceand implications of time travel theories in an everadvancing society where Science Fiction regularlybecomes Science Fact. We will also examinerelated issues concerning Social Responsibility,Ethics and Human Sustainability that arise in theTime Travel discourse.

Advanced Topics in English Course offerings vary each semester. Studentschoose one course from the following offerings:

Advanced Composition ENGL400 3 creditsThis course is designed to develop academicwriting and critical thinking skills beyond thelevel achieved in ENGL106. The course stressesanalysis and evaluation of sources, integration of avariety of rhetorical strategies, and research andthe documentation methods necessary forsuccessful academic writing. Assignments aredesigned to address the cross-curricular needs ofstudents.

Creative Nonfiction ENGL400 3 creditsThis class focuses on the autobiography,biography, and essay as examples of “creativenon-fiction,” a genre developed in book form andin many magazines like Atlantic Monthly and The New Yorker. In addition to weekly reading and writing assignments, students write a personalessay as their final project.


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Voices Of America: Studies in Multi-Cultural LiteratureENGL400 3 creditsThis course reviews literature of the "other,"focusing on the role of varied cultural groups inthe U.S. as exemplified in American literature.The study of such literature allows examination ofmarginalized voices.

Science Fiction Literature, Film, and Theory ENGL400 3 creditsThis course examines selected fiction, criticaltheory, and film as it pertains to the “cyberpunk”aesthetic. Focusing on the germinal sources of cyberpunk as well as the many motifs, artisticstyles, and physical elements that comprise this radical hyper-real ethos of yesterday/today/tomorrow, concentration is on the works ofWilliam Gibson—the “demiurge” of thecyberpunk experience-and on science fiction as an artistic genre.

Creative Writing Workshop ENGL400 3 creditsThis course is an introduction to the experienceand practice of writing fiction and poetry. Most ofthe course takes place in a workshop setting,including visits by guest writers. Students producea portfolio of writing done in the course of thesemester in revised and publishable form.

Children's Literature ENGL400 3 creditsThis course surveys world literature writtenprimarily for children, including material from theoral tradition, realistic fiction, fantasy, and poetry,emphasizing a critical analysis of some of themyths, fables, legends, rhymes, and fairy talesfound in children's literature.

Gods and ArtistsENGL400 3 creditsThis course will consider the impact of the Bible onwestern culture. A profound and compellingliterature, for thousands of years the collection ofbooks known as the Bible has shaped under-standings of creation and creativity, identity, anddestiny, war and peace, our place in the world andthe fate of the earth. This class will survey keycharacters, events and themes in theBible, togetherwith the Bible’s impact on western art, literature,language, music, justice and ethics.

Harlem Renaissance ENGL400 3 creditsThis survey of one of 20th-century America’smost vital cultural movements features the NewNegro Movement in arts and letters, from its startin 1919 with soldiers returning from the GreatWar, to its undoing with the Great Depression inthe mid-1930s.

Film Noir ENGL400 3 creditsThis course examines the film noir genre ofAmerican film with a focus on changing forces inAmerican culture after World War II. Readingsanalyze the relationship of film noir to perceptionsof American social history.

The Graphic Novel ENGL400 3 creditsThis course focuses on the graphic novel,analyzing texts from diverse critical positions,along with examination of critical approaches tocomics as a medium, narrative form, and a set ofcultural and social practices. Readings arecentered on visual narratives, comic art, and therhetoric of the image. The course examines theinteraction of text and image in sequential art, aswell as the literary and critical themes and tropeswithin this genre.

Los Angeles Literature ENGL400 3 creditsLove it. Hate it. Los Angeles is a provocativeplace. A city of dreams, a clash of cultures, a cityof tomorrow, an impossible mess, a place ofopportunity, a hotbed of illusion. Add earthquakes,riots, sunshine and smog, beaches and freeways.Add 15 million people. This course considers LosAngeles through the lenses of writers and otherartists who have lived in L.A.

The Narrative ENGL400 3 creditsStudents analyze and evaluate current practices ofnarrative prose in such forms as the essay, newsstories, television, film, and fiction, applyingconcepts of organization, style, usage, rewriting,and editing. The first half of the class focuses onnon-fiction writing and the second half of theclass on fiction writing.

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HyperliteratureENGL400 3 creditsThe print text/book is a highly ordered system witha fixed beginning and end, and a predeterminedsequence leading from the former to the latter. Thehypertext/book knows no such hierarchicalorganization, and allows the reader to navigatefreely through the work by clicking on hyperlinksthat lead to related (though non-sequential) “pages”of electronic text. In this class students will readworks of hyperfiction and poetry and examine theimplications of this technology on literary practice.

Terrorism in LiteratureENGL400 3 creditsTerrorism is an abhorrent—but neverthelessunderstandable tactic in conflict as well as agrowing force in the contemporary world. Thiscourse will study portraits of terrorists andterrorism in both film and literature, with attentionto an expanding mood/tone of fear andapprehension in narratives following the terrorismattacks of 9/11. Complex moral, political,historical, social, economic, and ideologicalfactors which underpin the employment ofterrorism are considered.

Modern DramaENGL400 3 creditsThis survey of modern drama will look at how theintroduction of realism changed the function, roleand definition of this genre of literature. Thecourse will begin with Ibsen and end withcontemporary dramatists.

Image and TextENGL400 3 creditsThis class explores the conjunction of the writtenand the visual across various media (painting,print, film, photography), in various disciplines(advertising, fine arts, literature, photojournalism).From Futurist “freeword” poetry to the 1955Family of Man exhibit, students will consider howwords and images combine to create meaning andpose the question: What constitutes a text?

Film and LiteratureENGL400 3 creditsStudents analyze narrative conventions in worksof literary fiction and in film with attention to thesimilarities and differences between literacy andfilm art. They learn to appreciate the literary

devices and styles evident in individual works andthe commentary made by these works on moral,social and aesthetic issues. This course includesdiscussion of adaptation issues.

Social Change Through MediaENGL400 3 creditsThis course will explore the creative and strategicways in which artists and organizations worktogether towards social transformation. We willdiscuss how the participation of artists and theimaginative process nurture the realization of howwe can impact change in our society. Some of thequestions that we will consider are: How do weemploy the media to visualize change? Whatprocesses or organization feed that processtowards change? How do the organizers,administrators, painters, poets, dancers, videomakers, publicists, and fundraisers work togetherto build constituencies and affect policies?

Literature of Propaganda:ENGL 400 3 creditsWhat is propaganda? Essentially, it is media thatseeks to convince its audience with a message.Mass media has been used to convince people tobuy a product, vote for a certain candidate or evenbelieve in certain ideologies. In all of thesemedia, there is a specific rhetoric used to convincethe audience through images, sounds, words or themoving image. In this class students will dissectthe media of propaganda and learn how it is usedto convince a mass audience by reading speechesand literature and watching ad campaigns thatinclude these hidden messages aroundpropaganda.

Literature and Fashion:ENGL 400 3 credits From zoot suits to little black dresses, fromovercoats to necklaces, from glass slippers to newclothes, literature has used fashion to developcharacter, engage conflict, extend themes, andmore. Using the motif of fashion as a lens intostorytelling students will read, discuss, critique,and write about its role in a range of literatureincluding the short story, poetry, and the novel.

Writing the Short ScreenplayENGL400 3 credits"Writing the Short Screenplay" is a hands-oncreative writing workshop in which students learn


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the art and craft of writing for film. Throughonline and class discussions, students will read,watch and analyze a number of films tounderstand how a script translates to the screen. Inthe first portion of the class, students will developstory concepts by fleshing out plot, characterdevelopment and more. Then, the second half ofthe class will consist of story workshops wherestudents write their pages and receive peer reviewthrough class/online discussions. By the endof the semester, students turn in revised, polishedcopies of their short film scripts.

Integrated Learning Courses

Integrated Learning Liberal Arts ElectiveILML200 3 creditsAn integrative course using collaborativemethodology, synthesizing diverseperspectives, using the skills of creative andcritical thinking, clear communication andinformation literacy.

Liberal Studies Courses

Concepts and Issues in Media Arts LIBS217 2 creditsThis course explores the impact of technologies onthe creation and perception of images. Fundamentalissues in ethics, copyright, aesthetics, as well as thebusiness of art are in flux. This class brings arational perspective to the rapid changes intechnology, an assessment of where we are today,and the skills to prepare for the future. Required for Digital Media majors.

Economics and Product MarketLIBS235 2 creditsThis course focuses on social forces such as demo-graphic trends and life styles, and their impact onchanging consumer needs and market conditions.Students will also be introduced to the tools ofeconomic analysis, principles, and business organ-izations, developing research skills, methodologies,and analytic abilities.Required for Product Design majors.

Community Arts in LA LIBS245 2 credits Through alternating field trips, writingassignments and class discussions students willlearn about the myriad of community arts

practices throughout LA. Site visits (held everyother week) will include museum educationdepartments, such as The Getty, LACMA,MOCA, SMMOA, and arts/cultural organizations,such as Side Street Projects, Armory Art Center,Machine Projects, Telic Art Exchange, The HeArtProject, Echo Park Film Center, AWindowBetween Worlds, First Street Gallery Art Centerand may change with each semester. Required forstudents in the Community Arts EngagementTrack of the ACT program. Can be taken as anelective for all other students.

Communication Arts SeniorThesis/Research Paper LIBS404 2 creditsThis course is aimed at helping students define,analyze, and develop a comprehensive designproposal and creative brief for their seniorprojects. The course emphasizes critical thinkingand writing, and the role of the citizen designer inthe 21st century.Required for Graphic Design, Illustration, andAdvertising Design majors.

Senior Liberal Studies CapstoneLIBS440 3 creditsThe Liberal Arts and Sciences capstone is a senior-level course where students identify and criticallyreflect on a theme that intersects their own studiopractice or discipline and their work in LiberalStudies. The capstone encompasses work relevantto a wide range of disciplines, representing theculminating expression of a liberal arts educationand outcomes that prepares art and design studentsfor future success in a wide range of personal,professional, and social endeavors. In addition to amajor research and writing component, students maydemonstrate learning through the inclusion of pro-jects that represent their individual studio interests.A grade of C or better is required to pass capstone.

Junior Liberal Studies Elective Course offerings vary each semester. Studentschoose from the following offerings:

Mass Media and Society LIBS410 3 creditsThe developments of mass media have altered theway that people visualize information. This courselooks at the problems and issues concerning thestructuring role of media in society.

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FoodwaysLIBS410 3 creditsAlong with air, water, shelter and sex, food isconsidered a basic human need. Class, gender,ethnicity, environment, vocation, religious belief,and social values are all topics that affect what,when, and how we eat. In this course we will readessays, see films and through thoughtful classdiscussion, analyze the role of food incontemporary culture. We will examine whycertain foods are taboo to certain people, considerissues of nutrition and health, and the dichotomyof a world with problems of hunger and obesity.In addition to these very serious topics, we willalso look at the social aspects of food, and theways we enjoy being social through eating,especially as it relates to meeting, mating andcelebrating.

History of JazzLIBS410 3 creditsThis class explores jazz from its roots to its mostcurrent forms. Hear the music, study itscontributions, and explore the cultural patternsand trends that surround its development.Students will develop a comprehensiveunderstanding of the history of jazz and the waysthat jazz has influenced contemporary visualculture.

Legends, Fairy Tales, and Storytelling LIBS410 3 creditsStudents learn about multiple forms of oralnarration including legends, personal experiencenarratives, folktales, myths, and rumors. Varioustheories are also explored regarding textualanalysis, structuralism, and behaviorism to explainwhy stories exist in cultural variation and whypeople tell stories.

Witchcraft in Religion and Society LIBS410 3 credits This class explores a variety of perspectives onwitchcraft. Discussion includes the Biblicalinjunctions against magic, the Medieval andRenaissance persecutions, the Salem trials, andliterary and artistic views of the witch as ademonic, anti-Christian figure. The class alsoexplores modern religious witches around theworld.

Anthropology of Religion LIBS410 3 credits This course examines the role of religious beliefsand practices in various cultures, including itseffect on art, its relationship to the environment,etc. Emphasis is on cross-cultural and interculturalexperiences in the U.S.

World Music LIBS410 3 credits The class explores world music traditions and therole that music plays in the lives of the people whoperform it and those who listen. Students investigatemusic in terms of its social, religious, cultural, and political aspects. The class also examines theinterrelationships of traditional music andcontemporary styles through lecture, listening,slides, films, videos, independent research projects,readings, field trips, and guest lecturers and musicians.

Afro-Caribbean Ritual Art LIBS410 3 credits The focus of the class is an inquiry into the ritualart of the Caribbean. The course analyzes thechanges and transformations African aestheticconventions underwent as they came in contactwith other cultures. Concepts of creolization,migration, adaptation, syncretism, andtransformation are defined in the context of thecultures explored with African and West Africanart serving as a reference point.

Science Fiction in Literature, Film, andCulture LIBS410 3 credits Science fiction stories, novels, and films are perusedand analyzed to understand their influences anddevelopment. Sci-fi inspired cultural groups, theirbehaviors and materials are discussed. The courseemphasizes the various perspectives regardingmedia and popular culture and its symbioticrelationship with culture and traditional folklore.

Contemporary Music Issues LIBS410 3 credits This course develops an understanding of theissues and processes that have shapedcontemporary music culture, making a connectionbetween static and non-static arts.


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Latin American Folklore LIBS410 3 credits This is a survey of the folk practices, beliefs, andrituals of Latin America. The area is united by acommon Spanish culture. The folk beliefs andpractices inherited from Spain are informed bynative, African, and Asian traditions. The courseuses a variety of media such as scholarly readings,slides, and video to explore the rich and variedculture of the area.

African Folklore LIBS410 3 credits Africa, along with native cultures, is the singlemost influential cultural force in the New World.From folk beliefs and practices to material culture,Africa's rich heritage informs almost every aspectof the cultural life of the hemisphere. This class isa laboratory to explore the diverse and rich areasof the direct and indirect influences of Africa inthree major cultural areas: English, French, andSpanish Creole societies.

Modern Spiritual Cultures LIBS410 3 credits This class examines the origins of the Spiritualistmovement, which accepts life after death andmediumship. Focus is on its development inrelationship to the psychic market today. It alsolooks at other "New Age" cultural groups thatmaintain some Spiritualist ideas and exploresconcepts regarding folk beliefs, magic and folkreligion.

John CageLIBS410 3 creditsIn this interdisciplinary course students explore thework of John Cage as composer, writer, performer,and thinker, examining his diverse influences aswell as the extent of his influence on creativepractice from the 20th century to the present.

The Creative ProcessLIBS410 3 creditsThis course introduces students to theinterdisciplinary theories of creativity. Studentsexamine the lives of highly innovative thinkers todetermine individual traits and environmentalconditions that stimulate groundbreaking work,while gaining practical experience generating ideasin group and individual settings through in classexercise and outside assignments.

Ethics and SustainabilityLIBS410 3 creditsThis course discusses the (un-)sustainability ofenvironmental, agricultural, energy, political, andeconomic systems and practices. The course addressessustainability descriptively, drawing on empiricalscience, but the primary intent of the course is prescrip-tive and normative. The major purposes of the courseare to examine what practical considerations shouldguide our efforts to foster sustainability and, above all,to explore ethical issues related to sustainability.

FestivalLIBS410 3 creditsThis class explores festivals and the role that theyplay in the life of the community. Members of theclass will attend several festivals, getting behind-the-scenes looks at the Lunar New Year’s Paradein Chinatown, the Scottish Festival and Games atthe Queen Mary in Long Beach, Mardi Grascelebrations in and around Los Angeles, and SaintPatrick’s Day, and will participate in a PassoverSeder. Course readings help place these festivalsin their cultural context and help studentsrecognize the deeper meanings behind these andother large-scale public events. Based on theirexperience and understanding of festivals, thestudents will help organize and design the OtisStorytelling Festival.

Contemporary MusicLIBS410 3 creditsThis course develops an understanding of theissues and processes that have shapedcontemporary music culture, making a connectionbetween static and non-static arts.

Signs, Ritual, and PoliticsLIBS410 3 creditsThis course examines the semiotics of ritual andthe politics of ritual through an interdisciplinaryapproach combining visual and cultural analysis.Issues will range from how ritual behavior isembedded in visual communication to its impacton political discourse. We will explore three maindomains: semiotics of ritual and politics; ritualbehavior in religion; and institutions and mass-media representation through rite and signification.In the first section of the course we will focus on some key semiotic and cultural analyses which will later be applied by students to assignedfield projects.

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The History of Rock and RollLIBS410 3 creditsWe all listen to music almost every day of our lives;however, few of us know much about this music’shistory. Students examine the evolution of this trulyAmerican art form, from its Gospel and Blues roots,to the fusion of R& B and Country, through Doo-Wop, right up to its present day manifestations.They look at the music but also the culture thatdeveloped around it, and how it inspires work,morality and fashion.

Virtual Worlds LIBS 410 3 CreditsThis online course, offered during Summer,explores the currently burgeoning online andgaming spaces termed virtual worlds. We willdiscuss these created communities, their historyand their realities, avatars and character invention,narrative threads in these spaces, emergingreal/virtual economies and the cultural implicationsof these behaviors and places. Virtual worldsaddressed include The World of Warcraft, Webkinz,the SIMS and Second Life.

Teaching for Learning II LIBS412 3 creditsThis course builds on its prerequisite, Teaching forLearning I, while emphasizing the stages of humanand aesthetic development in youth and adults.Students will synthesize study of culturalbackgrounds and proficiency levels as they relateto the role of the visual arts in human development.Topics include curriculum development, artmuseum and community based audiences, publicartists and designers working with city planningboards, critical pedagogy, ESOL, SpecialEducation, engaging teaching styles, and bestpractices. Required for participants in the ACT Program.

Senior Thesis (Fine Arts)LIBS455 3 creditsThrough "visiting artist" style presentationsfollowed by group discussions, students considerthe salient themes in their artwork and clarify thelanguage and style they use to talk about it. Thesepresentations give students the opportunity todevelop and present in lecture form the topics theyhave developed in their thesis paper. The SeniorReview is designed to function in concert with theSenior Thesis course offered by the Liberal Studies

Department. Both courses are ultimately focusedon helping the students prepare for professionalpresentation of their work, either through writtenor spoken word. Spring only. Required for Painting, Photography, andSculpture/New Genres majors.

Business Practices LIBS454 2 credits The first half of this course provides an introductionto business strategy, economics, finance, and marketing.The second half teaches students how to write abusiness plan for their own companies. Lectures byvisiting toy industry professionals are included.

Mathematics Courses

Math For Artists and Designers MATH136 3 creditsThis course explores the connections between mathand art in two and three dimensions. The classincludes an exploration of Escher's work, tiling theplane, fractals, and the golden ratio. It also coverstopics such as graphing equations and geometricconstructions.

Applied Trigonometry MATH246 3 creditsThis course covers topics in analytical geometryand trigonometry. There is an emphasis onalgebraic manipulation and on applications of thetopics covered to the design field. Required for Architecture/Landscape/Interiors, Symbolic Logic MATH336 3 creditsAn introduction to the study of symbolic logic and the application of mathematical methods in thestudy of reasoning, in which certain symbols areused to represent certain relationships. The courselooks at the ways that logical forms can be used indeductive reasoning and how language can beanalyzed using abstract symbolic structures. Required for Graphic Design, Illustration, andAdvertising Design majors.

Natural Science Courses

Natural Science Requirement NSCI307 3 creditsFashion Design, Toy Design, and InteractiveProduct Design offer Natural Science courses that

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are specific to their curricula. All other majorschoose one course from the following offerings:

The Brain and its Functions NSCI307 3 creditsWith the current technological explosion has comenew means for investigating the human brain, itsevolution, structure, and functions. This courseexamines research about the interrelationshipbetween cortical functioning and all aspects ofhuman behavior: intelligence, personality andtemperament, specific talents and skills, learningand memory, normal vs. abnormal behavior.

The Psychology of Seeing NSCI307 3 creditsThis course explores the mechanisms we employ inunderstanding and interpreting visual information.Through lectures and exercises students gainunderstanding of various visual phenomena.Psychological and physiological topics include: thecomplexity of the eye, brain structures, opticalillusions, as well as the perception of brightness,movement, color, and form.

Imagination and the Brain NSCI307 3 creditsThis course explores various aspects of thephenomenon of visualizing (mental imagery) bycombining insights from neurology, psychology,and philosophy. Topics include: visualizing inrelationship to other visual phenomena; visualizingas one form of sensory imagination; visualizing asa component of non-conceptual cognition; and thecontinuities and discontinuities between mentalimages and the artist-made images (drawing,painting, and photography) which are based onsuch visualizations.

Who’s That Face: The Neurology of FacePerception NSCI307 3 creditsWe can recognize thousands of different peoplefrom their looks, guess their ages with someaccuracy, and even determine if they are happy orsad. How do we do this? In this class students usea variety of sources, as well as student-generatedmaterial, to study the recent developments in theneurology of face perception. This course isrelevant for students interested in portraiture,illustration, the figure, or just their fellow humans.

Juvenile Anatomy and Ergonomics NSCI308 3 creditsAnatomy is the science that includes a study of thestructures and functions of the human body, andergonomics is the applied science of equipmentdesign. This course examines the human anatomyand its implications for the ergonomic design oftoys for children at different stages of physicalmaturation. Required for Toy Design majors.

Anatomy and Ergonomics: Human Factors NSCI319 3 creditsThis course utilizes the principles of physics tounderstand human anatomy as a mechanical system.Emphasis is placed on physiological issues relatedto age, gender, and physical disabilities.Consideration is also given to the implications ofthese principles for applied ergonomics. Required for Product Design majors.

Textile Science I NSCI311 2 creditsThrough lecture and experiments, students learnthe unique aesthetic and performance properties ofindividual fibers. Through the study ofconstruction, students develop their ability toidentify various woven and knit fabrics. Requiredfor Fashion Design majors.

Textile Science II NSCI312 2 creditsStudents rework fabrics through surface treatments.Fabric finishes, dye processes, and printingtechniques are explored. Students gain practicalexperience in immersion dyeing, fabric painting,and resist techniques. Required for Fashion Design majors. Lab Fee: $35.

Social Science Courses

Cultural Studies SSCI130 2 credits This class explores what happens when diversecultures interact across groups of gender, language,ethnicities, sexual orientation, etc., and how cultureis perceived and transmitted. Students write fieldobservations, evaluate media, and participate inindividual and group presentations. Lectures,simulations, and assignments are designed toincrease the students' observational skills anddecrease intercultural and racial misunderstandings.

CourseDescriptions

CourseDescriptions

124

Social Science SSCI210 3 creditsToy Design and the ACT Program offer Social Sciencecourses that are specific to their curricula. All othermajors choose one course from the following offerings:

Cultural Space SSCI210 3 creditsIdeas regarding the taking, owning, or occupyingof space by different cultural groups are discussed.This course addresses theories about permanent,ephemeral, and existential cultural spaces in artand culture. Includes five field trips.

Cultural Anthropology SSCI210 3 creditsThis introductory social science course is a toolkit for looking at universal patterns and infinitevariations of the human response. Courseobjectives are to introduce students tocontemporary theories of anthropology, includingMarxist, feminist, critical and aesthetic points ofview, and to prepare them for field research.

History of American TelevisionSSCI210 3 creditsSince the 1950’s, television has been the mostprevalent medium for mass entertainment andinformation in the United States. This course willtrace the history of broadcasting beginningwith the rise of radio in the 1920s, television’spost-war boom, the impact of cable television andnarrow casting, and its current emphasis on realityprogramming, 24 hour news cycles, and digitaldistribution. This course will analyze howtelevision programming reflects and influencesour perception of American myths and culturalpractice.

The History of Rock and RollSSCI210 3 creditsWe all listen to music almost every day of our life;however few of us know much about this music’shistory. The History of Rock and Roll will focuson the evolution of this truly Americanart form. From its Gospel and Blues roots, to thefusion of R& B and Country, through Doo-Op,right up to its present day manifestations, we willnot only look at the music but also the culture thatdeveloped around it. Rock and Roll inspires ourwork, our morality and our fashion. Now it is timeto learn more about it.

The Origins of African American Music SSCI210 3 creditsFrom its earliest forms to today's top ten, thiscourse examines African American popular musicin terms of its social and cultural significance. Themain goal is to foster an understanding of howsocial conditions and music intersect in AfricanAmerican communities.

Food and Popular Culture SSCI210 3 creditsThis course analyzes why certain foods are tabooto certain people, and considers issues of obesity.In addition to these very serious political topics,students also look at the social aspects of food,and the ways people enjoy being social througheating, especially as it is related to dating, mating,and celebrating.

Science Fiction in Literature, Film, andCulture SSCI210 3 creditsScience fiction stories, novels, and films areperused and analyzed to understand theirinfluences and development. Science fiction-inspired culture groups, their behaviors, andmaterials are discussed. The course emphasizesvarious perspectives regarding media and popularculture and their symbiotic relationships withculture and traditional folklore.

Urban Studies SSCI210 3 creditsThis course focuses on contemporary cultures inan urban setting, both immigrant and moreestablished. It also examines the syncretism thattakes place when the familiar and the newintersect. Using cultural and artistic expressionsuch as music, religion, dress, and foodways,students examine how people establish newparadigms for family and community.

Video Game History and Culture SSCI210 3 creditsThe course examines the world of computer andvideo games through a socio-cultural lens. Fromthe earliest experiments to the current hot sellers,including all major game genres and platforms,students delve into the images, symbolism, andnarratives that shape the video game universe andcaptivate its visitors.


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The Creative Process SSCI210 3 creditsThis course introduces students tointerdisciplinary theories of creativity. Studentsexamine the lives of highly innovative thinkers todetermine individual traits and environmentalconditions that stimulate groundbreaking work,while gaining practical experience generatingideas in group and individual settings through in-class exercises and outside assignments.

Child Psychology SSCI211 3 creditsA comprehensive overview of child developmentfrom conception to adolescence, includingdevelopmental stages, critical periods, effects ofearly stimulation, environmental enrichment, andhow to apply this information when designingchildren's toys, books, games, products, andentertainment. Special attention is given to toydesign issues of aesthetics, safety, age-relevance,socio-cultural parameters, marketability, andcharacteristics of successful toys. Required forToy Design majors.

Introduction to PsychologySSCI210 3 creditsTaking a historical/thematic perspective, the firsthalf of this course consists of a history of theoriesof mind and psychology beginning in theClassical Western World and ending with Post-modern concepts of the Mind-Brain-Bodyfunction and interaction. The second half offers anintroduction to the various contemporary theoriesof psychology and implications of these theoriesin terms of understanding human behavior.

Introduction to Jungian PsychologySSCI210 3 creditsDreams are the Royal Road to the unconscious,and as the unconscious may be the wellspring ofall creativity, an awareness and close relationshipto the unconscious can be very useful for theartist. In this experiential course students willlearn a method of dream interpretation and applythis method to their own dreams, work in dyadsand assist other students to interpret theirdreams. These explorations will be brought intofocus through the lens of Jungian psychology,which will allow them to come into closerrelationship and deeper understanding of theirunconscious process. Finally the methods of

dream interpretation and Jungian psychology willbe applied to the interpretation of pieces of art,based upon the understanding that art is also areproductions and outpouring of the unconscious ofthe artist who created them.

History of JazzSSCI210 3 unitsThis class explores jazz from its roots to its mostcurrent forms. Hear the music, study itscontributions, and explore the cultural patternsand trends that surround its development.Students will develop a comprehensiveunderstanding of the history of jazz and the waysthat jazz has influenced contemporary visualculture.

Gender and CultureSSCI210 3 creditsThis course examines the construction offemininity and masculinity especially as theyrelate to various ethnic and class-based groups inthe U.S. The course will investigate how gender isshaped by culture and in turn, helps to shape it.Using readings, films and discussion, we willconsider/contrast various populations includingcity/suburban/ex-urban and various geographicalareas of the U.S.

Teaching for Learning I SSCI212 3 creditsThis course provides a historical overview ofeducation and art development theories andphilosophies as well as social theories. Studentsare introduced to models of art education such asstudent centered, discipline based, and projectbased teaching through the arts. Topics willinclude student populations, learning styles,popular youth culture, diversity, inclusion,classroom management, and health and safetyissues in the classroom. Contemporary artists anddesigners who teach as part of their practices willalso be discussed. Required for students in bothtracks of ACT Program.

CourseDescriptions

DepartmentFaculty

126

Debra BallardChair MA (English) Cal St Univ. Northridge. BA(English) Univ. of Maryland; Publication editor,educator with extensive curriculum designexperience; published articles on education,portfolio use, and conference presentations.

Parme GiuntiniDirector Art History PhD, MA, BA (Art History) UCLA. BA (History)Field of specialization 17th-19th-century art, witha focus on the construction of modern domesticideology and museology.

Sharon BellLecturerMA, BA (English) Vanderbilt Univ. Magazinewriter and Arts and Music editor. Award-nominated television writer of episodic cable USand documentary for NHK Japan. Bronze medalfor a screenplay at the Charleston Film Festival.Teacher Excellence Award from West Los AngelesCollege Honor Society.

Guy Bennett ProfessorPhD, MA, BA (French Literature) UCLA.Extensive publications in poetry, reviews,criticism, and translation.

Adam BergAdjunct Associate ProfessorMA, ABD (Philosophy), Haifa Univ., BA(Philosophy) Univ. of Toronto and Haifa Univ.Studied Academia delle Belle Arte, Rome, Videoand installations shown internationally. Artist-in-Residence, McLuhan Center for Culture andTechnology, Univ. of Toronto; and HeadlandsCenter for the Arts, Sausalito.

Pam BlackwellSenior LecturerMA (Art History and Studio Art) UC Riverside,BA (Art History). Getty Visiting Scholar Program.Artist/Photographer. Photographs exhibited andpublished widely.

Carol BranchDirector Student Resource CenterPhD, MA (Folklore and Mythology) UCLA; BA(English and German) UCLA. Specialization inAfrican American performance art. Contributed toa teachers’ curriculum guide published by theAfro-American Museum.

David BremerAssociate ProfessorMDiv (Religion, Myth and Popular Culture)Harvard Univ.; BA (English) Wittenberg Univ.Directs special programs in faculty development.Led Otis Creative Renewal program for Mattel.Special interests in creativity, storytelling, andspirituality.

Joann ByceLecturerPhD (Art History) UCLA; MA (Art History) UCDavis; BA (Studio Art). Active in the College ArtAssn., Session co-chair in 2003 for “Making ArtMake History: The Art Gallery as Institution.”

Krystina CastellaLecturerBFA (Industrial Design) RISD. Design andbusiness consultant. Started three manufacturingcompanies and a retail store, several web sites andthe Design Entrepreneur Network. DevelopedHypercolor heat-sensitive clothing for GenerraSportswear, production design for Fox Network,environmental design for Walt DisneyImagineering and retail architectural design forRTKL. Author of seven books including severalcookbooks and a children’s book.

Rocío CarlosLecturerMFA (Candidate) Otis College of Art and Design,BCLAD Credential (English Language Arts), BA(Psychology) California State University. She isseeking publication of her first novel, The River’sBlue, and is working on a second. Taught Englishin public secondary school for nine years.


DepartmentFaculty

127


Perri ChasinAdjunct Assistant ProfessorMA (Speech Communication) Queens Coll. CityUniv. of N.Y.; BA (Speech and Language), CityCollege, City Univ. of N.Y. Broadcast writer/producer and speech and language specialist..Former CBS Records International executive,National Celebrity Coordinator for “Hands AcrossAmerica” and co-producer of the documentary“The Story of Hands Across America.” Wrote andproduced television news, entertainment specials,several reality series, live events and a criticallyacclaimed series for public radio.

Scarlett ChengSenior Lecturer MA (Television/Film Studies) Univ. of Md; BAAmerican Univ. Writer on film and visual arts forLos Angeles Times, Art News, Far EasternEconomic Review. Programmed first Chinese filmseries in history of Smithsonian Inst.

David ChierichettiLecturerMFA (Motion Picture History) UCLA; BA(History). Author of several books includingHollywood Costume Design and HollywoodDirector: The Career of Mitchell Leisen and EdithHead: The Life and Times of Hollywood’sCelebrated Costume Designer.

Melissa ClarkLecturerMA (English) UC Davis; BFA (ProfessionalWriting) Emerson College. Creator of animatedtelevision series "Braceface" and writer for "RoliePolie Olie," "Totally Spies," "Sweet Valley High,"among others. Author of "Swimming Upstream,Slowly." published in 2006 by BroadwayBooks/Random House. Currently completing hersecond novel, "Imperfect."

Heather ClearyLecturerMLIS UCLA; BA (English) Reed Coll. Librarianspecializing in cataloging and visual materials; onexecutive board for Artists’ Books Conference LA2004 conference; given several presentations atconferences.

Lorraine Cleary-DaleLecturerMFA (Studio Art) Claremont Graduate Univ.BFA (Studio Art) CSU Long Beach. Director ofProfessional Development, Armory Center for theArts, Consultant/Trainer, Los Angeles County ArtsCommission, Active in the College Art Assn.

Meg CranstonChair, Fine ArtsMFA Cal Arts; BA (Anthropology/Sociology)Kenyon Coll. Internationally recognizedperformance and installation artist. Solo shows atDunedin Public Art Gallery, New Zealand;Rosamund Felsen Gallery, Santa Monica; GalerieMichael Kapinos, Berlin; Venetia Kapernekas FineArt, N.Y.; Carnegie Museum of Art, Pittsburgh.Recipient COLA Individual Artist’s Grant,Architectural Foundation of America Art in PublicPlaces Award, John Simon Guggenheim MemorialFoundation Fellowship.

Diane CunninghamLecturerPh.D. UC Irvine; MA , UC Irvine; MA, CSUFullerton; MA, BA, UCLA. Varied backgroundranging from performing arts to forensiceconomics. Current focus on American popularand consumer culture, individual economic choice,and the sociology of death and dying.

Mario CutajarLecturerMFA(Candidate) Art Center, BA (Philosophy)University of Toronto. Regular contributor toArtscene. Past Artweek contributing editor. Hiswriting has also appeared in Art + Text, LAWeekly, Visions, and other publications.

DepartmentFaculty

128

Abdelali DahrouchLecturerMFA (Painting, Video, Art Criticism) PrattUniversity; BA (Studio Art, Art History) SUNY,Corcoran School of Art Open Program; StrayerCollege, Washington, DC; University of Toulouse(Liberal Arts) Toulouse, France. In 2004 Abdelaliwas a Fellow in Residence, “Intra-NationResidency,” at The Banff Center, Banff, Canada.His most recent exhibitions include Desert Sin,Revisited, “Anthropos & Phagein,” Museum ofContemporary Art (MUHKA), Antwerp, Belgium;White Night, “Piece Process",Arab/Muslim/Jewish Artist Collective, BerkeleyArt Center, California and Memorial Art Gallery,University of Rochester, N.Y.

Andrew DavisAdjunct Assistant Professor Ph.D. (Performance Studies) New York Univ.;M.A. (Folklore) UCLA; B.A. (English) SanFrancisco St. Univ. Writes and curates museumexhibitions on theatre related topics. His company,Baggy Pants Productions, produces shows andevents in the L.A. area.

Marlena DonohueAssociate ProfessorABD, MA (Art History) USC; BA (Psychology)UCLA. Art critic for several newspapers andmagazines, including Sculpture Magazine, TheLos Angeles Times, Artweek, and London ArtNewspaper.

Ysamur Flores-PenaAssociate Professor PhD, MA (Folklore and Mythology) UCLA; MA,BA (Education) Catholic Univ. of Puerto Rico.Extensive publications including Fit for a Queen:Analysis of a Consecration Outfit in the Cult ofYemaya. Has presented papers at the FowlerMuseum and the St. Louis Museum.

Enjoli FlynnLecturerMFA (Writing) Otis College of Art and Design; BA (Political Science) University of San Francisco.Copy Editor for IW Group (Asian advertisingagency), and currently in the final stages ofcompleting her first novel (not yet titled).

Joseph FutermanSenior LecturerPhD (Clinical Psychology) Pacifica GraduateInst.; MA(Clinical Psychology) Antioch Univ.;BA (Film Studies) Pitzer Coll.

Polly GellerLecturerMFA (Writing) Otis, BA (Comparative Literature)Dartmouth Coll. Co-founder of 3 + 3 poetrygroup.

Mara GladstoneLecturerPh.D. and M.A. (Visual & Cultural Studies) Univ.of Rochester, NY, 2011; BA (Political Science andVisual Art) Brown Univ., 1999. Recipient of the J.Paul Getty Trust Graduate Internship in PublicPrograms in 2010.

Tiffany GrahamLecturerCurrent Ph.D candidate (World Arts and Cultures) UCLA; BA (English) Univ. of Missouri-Columbia.

Claudia HernandezLecturerPhD candidate (World Arts and Cultures) UCLA.Specializes in Latina/o religion, spirituality andhealing practices in Los Angeles. Dissertationtopic is “Healing Strategies Among Latina/os atProyecto Jardin Community in Boyle Heights, Los Angeles.”

Marsha Hopkins Senior LecturerMFA (Writing), BFA (Painting) Otis College of Artand Design. Published in Garb: A Fashion andCulture Reader and in Otis Review. Her short story"Stalker" was published by Nothing Moments.

Heather Joseph-WithamAssociate ProfessorPhD, MA (Folklore and Mythology) UCLA; BA(Political Science), Author of many articlesincluding “Ironic Bodies and Tattooed Jews,” “The Magical Harry Potter,” as well as “Star TrekFans and Costume Art.” “Current President, Calif.Folklore Society.


129


Laura KirallaDean of Student AffairsEd.D. (Organizational Leadership); M.S.(Psychology) Univ of La Verne. B.A. LoyolaMarymount Univ. Certificate in ConflictMedication, State of California. Specialization inStudent Leadership Training.

Candace LavinAdjunct Assistant ProfessorBA (Graphic Design) CSU Northridge. Dr. Toy award winner. Professional experience includesenvironmental graphic design for Walt DisneyImagineering, product design of toys, collectibles, andspecialty gifts for Applause, Warner Bros. and Disney.

Maggie LightLecturerMFA (Writing) Otis. BA (Theater) Univ. of Virginia.

Joyce LightbodyAdjunct Associate ProfessorBFA UC Santa Barbara. One-person and groupexhibitions include “Ear Ink,” “Earsight: VisualScores and Musical Images,” and “Visual/MusicalPermutations.” Recordings and publicationsinclude “Bell Play- songs for the Carillon,” “AFew More Songs” and “Joyce Lightbody’sDictionary of the American Language.”

Sue MaberryDirector of the LibraryMLS San Jose St. Univ.; BA (Art/ Women’sStudies) Pitzer College. Created Otis’ InformationLiteracy Curriculum.

Michele LeCuona McFaullLecturerMA (Art History) and MA (Education, Curriculumand Instruction) UC Riverside, BA Regis Coll.MA thesis: "Patroness of the Gilded Age: IsabellaStuart Gardner." Active member CAA, AHSC,Board member of Jonathan Arts Foundation, LA.and AMA.

Ross MelnickLecturerPh.D. Candidate (Cinema and Media Studies)

UCLA; Master of Arts (Critical Studies) UCLA;BA (American Studies) Brandeis University,Waltham, MA.

Mikhail MorozovAdjunct Assistant ProfessorMA, BS (Math and Physics) Univ. of Tiraspol.Received the National Champion in Competitionfor Teaching Methods and the Award of TeachingExcellence from the Univ. of Tiraspol. Producedtwo training manuals on algebra. Jessica NgoLecturer MPW (Professional Writing, Creative Nonfiction)USC; BA (Creative Writing) PepperdineUniversity. Author of the memoir Second Twin,First Twin (Sabellapress 2009). Currently workingon a nonfiction book about twinship in Nigeria.

Karri PaulLecturerMFA (Studio Art) Univ of Texas, Austin; Univ ofIowa, Univ of Tenn. Published in The BostonReview, Fence, and The Iowa Journal of CulturalStudies, and her poem "Weather Update" wasselected for The Pushcart Prize: Best of the SmallPresses.

Leena PendharkarLecturerMA (Journalism) UC Berkeley; BA (English/public policy analysis) Univ of N. C. Chapel Hill.Writer and filmmaker with a background ininteractive design, has made several award-winningshort films, and recently completed her feature filmdebut, "Raspberry Magic."

Andrew PlakosLecturerMBA Univ. of St. Thomas, St. Paul MN; BA(Industrial Arts) Cal St Univ. L.A.. V.P. ofEngineering and Preliminary Design at StrottmanInternational; design and production experience.

DepartmentFaculty

DepartmentFaculty

130

Patrick PolkLecturerPh.D. (Folklore) UCLA, 2000; M.A. (Folklore)UCLA, 1990; B.A. (Anthropology) UNLV, 1988.Primary teaching and research interests focus on folkreligion, material behavior, popular culture, andurban visual traditions. His recent publicationsinclude "Arte y Estilo: The Lowriding Tradition"(co-edited, 2000), "Botánica Los Angeles: LatinoPopular Religious Art in City of Angels" (2004).Forthcoming publication "Conjurers, Healers, andHoodoo Doctors: Readings on African-AmericanMagic and Folk Medicine. Curated the exhibition"X-Voto: Retablo-Inspired Art of David Mecalco."

Kristen RaizadaLecturerPh.D. (Candidate) (Art History, Theory andCriticism) UC San Diego, M.A. (History of Art)CSU Long Beach, B.A.( History of Art) Univ ofFl, (with Honors) Outstanding Graduate ThesisAward, College of Arts, California StateUniversity, Long Beach, 2007. Lecturer,California State University, Long Beach,Department of Design, 2006 to 2008

Yael SamuelAdjunct Assistant ProfessorMA (English) CSU Dominguez Hills. Artists’books text editor for Edition JS including worksby Marina Abromovic, Guillermo Kuitca, GabrielOrozco, Meredith Monk, Miroslaw Balka, FrankGehry, Dan Graham, Andrea Zittel, and ChrisBurden. 10,000 Kites Executive Director.

Terry SaundersSenior LecturerPh.D., MA, BA (Folklore and Mythology) UCLA.Co-edited the UCLA Folklore and MythologyStudies Journal, and published several articlesincluding “Santeria in Los Angeles” and “TheMyth of Wrestling.”

Richard M. SheltonDirector of Integrated LearningMFA Cal Arts, BFA Minneapolis Coll. of Art andDesign. Produces both client-based work andpersonal work for exhibitions. Recent exhibition’sand client’s include The Walker Art Center, MN,Jung and Pfeffer, Amsterdam/Germany and he is apartner in GD4Love&$, Los Angeles.

Rob Spruijt Adjunct Associate ProfessorPh.D. (Psychology and Epidemiology) AmsterdamUniv.; BFA Otis. In addition to his extensiveacademic articles and publications on humanpsychology and perception, Spruijt is a technicalexpert on Dutch still life painting and producescontemporary still life paintings in oil on panel.

Kerri SteinbergAssociate ProfessorPh.D. (Art History) UCLA. Specializes in modernart and photography, and has published articlesand reviews on visual culture and AmericanJewish self-representation. Currently researchingthe critical role played by graphic design inpopular culture.

Robert SummersLecturerABD, UCLA (Art History and Critical Theory);MA, BA (History of Art), UC Riverside. Studiedcritical theory and contemporary art; specializedin continental philosophy, feminism, queer theory,contemporary art, performance and body art, andhistory of Photography. Published papers inanthologies, writes for ArtUS; presented researchand chaired panels at conferences across theglobe, and has curated exhibitions and organizedacademic conferences internationally.

Joan Takayama-OgawaAssociate ProfessorMA (Education) Stanford Univ.; BA(Geography/East Asian Studies) UCLA. Educatorand ceramic artist in public collections of RenwickGallery, Smithsonian Institution; LACMA, OaklandMuseum, Long Beach Museum of Art, CelestialSeasonings, Hallmark Racene Art Museum.

Jean-Marie VenturiniLecturerMFA (Writing) Otis. BA (Classics and ClassicalCivilizations, Minor in Archaeology) LoyolaMarymount University.


DepartmentFaculty

131


Frauke von der HorstSenior Lecturer PhD (Art History), UCLA; MA (GermanLiterature) Cal St Univ. Long Beach; BS(Pedagogy/Mathematics) Hamburg Univ.Specializes in critical theory, museology, andmodernism. Has lectured extensively on museologyboth in the U.S. and Germany, and has curatedexhibitions at Illinois State Museum, and LongBeach Museum of Art.

Nathan WestbrookAdjunct Assistant Professor MA (Philosophy) UC Riverside; BA Philosophy,with French minor) Brigham Young University.Interest include philosophy of mind, cognitivescience, free will and moral responsibility,epistemology, logic and philosophy of science.Has taught philosophy and psychology courses atUCR and UCI.

Jeanne WilletteAssociate ProfessorPhD (Art History), UC Santa Barbara; MA (Art

History) Cal St Univ. Long Beach; BA (Fine Arts)Cal St Univ. L.A. Specializes in modern andcontemporary art, and critical theory with aparticular emphasis on photography. Extensivepublication record in both professional journalsand exhibition catalogues.

Michael Wright ProfessorBA (European History) and BFA (Painting andDrawing) Univ. of Washington. Widely exhibiteddigital artist.

DepartmentGoals

132

This program prepares students for careers in the field of product design, providing awide career path in a variety of consumer product-related industries. The emphasis ofthe program is on creativity, communication of ideas in 2D graphics and 3Dconstruction and the integration of research, art and design methodology, materials,processes, technology, strategic thinking and entrepreneurial skills to createinnovative solutions that address cultural, social, and marketplace needs. Studentsdevelop design skills in two broad product categories of “soft-line” and “hard-line”products that comprise the broad spectrum of consumer product industries.Sequential courses enable students to develop their own unique personal vision,creative practice, and design methodology that utilizes a wide variety of skill-sets, business practices, strategic thinking and entrepreneurial skills.

Students will gain:

Product Design

• Understanding of the Product Design andDevelopment Process and using it as ameans for project management.

• Proficiency in research and analysismethodologies as it pertains to the productdesign process, meaning and design intent.

• Ability to apply creative process techniquesin problem solving and critical thinking.

• Ability to demonstrate drawing and draftingprincipals to convey concepts.

• Computer proficiency in graphic andcomputer aided design programs.

• Proficiency in basic fabrication methods tobuild proto-type models.

• Basic understanding of engineering,mechanical and technical principals.

• Basic understanding of materials includingsustainable materials and manufacturingprocesses.

• Proficiency in effective verbal and writtencommunication.

• Proficiency in strategic thinking, businessand entrepreneurial practices,professionalism and ethics.

DegreeRequirements

133

Product Design


Sciences section.

Sophomore Year Fall SpringPRDS200/201 Design Studio I/II 3.0 3.0

PRDS220/221 Integrated Design I/II 2.0 2.0

PRDS240/241 Forms & Structures I/II 2.0 2.0

PRDS250/251 Visual Communication I/II 2.0 2.0

PRDS270/271 Digital Design I/II 2.0 2.0


AHCS220 Contemporary Perspectives in Art and Design 3.0 –—

AHCS225 Product Design History –— 3.0



Junior Year Fall SpringPRDS300/301 Design Studio III/IV 4.0 4.0

PRDS320/321 Integrated Design III/IV 2.0 2.0

PRDS370/371 Digital Design III/IV 2.0 2.0

PRDS385/386 Methods & Materials I/II 2.0 2.0

*ILMS300 Integrated Learning Studio –— 2.0

AHCS310 Art History Elective –— 3.0

*Advanced Topics in English or 3.0 -—


NSCI319 Anatomy & Ergonomics –— 3.0

MATH136 Math for Artists & Designers 3.0 –—


Senior Year Fall SpringPRDS400/401 Design Studio V/VI 4.0 5.0

PRDS420/421 Integrated Design Studio V/VI 2.0 2.0

PRDS430/431 Professional Practice I/II 2.0 2.0

PRDS470/471 Digital Design V/VI 2.0 2.0

Studio Elective 2.0 –—


*LIBS 440 Liberal Studies Capstone Elective 3.0 –—

LIBS235 Economics and Product Market –— 2.0


*These courses may be taken during the Fall or Spring Semester

CourseDescriptions

134

Design Studio I/II PRDS200/201 3 credits/3 creditsThese courses focus on developing the student’smastery of the elements of visual literacy andorganizational principals as they apply to theproduct design and development process. Thefocus is on designing with intent through themeaningful manipulation of line, plane, volume,value, texture and color in 2D and 3D through asequence of increasing complex projects and skill-building workshops. The second semester projectsfocus on the synthesis of culture, technology anddesign as a means of addressing social, economicand marketplace needs.

Integrated Design Studio I/IIPRDS220/221 2 credits/2 creditsThese courses engage the student in developingtheir individual creative process through theexploration and manipulation of materials andmethods to express a visual response to a theme orcontent. Through a series of demonstrations andhands-on projects, students are exposed to avariety of materials and methods as means tostimulate curiosity, exploration, invention andsolution finding and developing a personal vision.Emphasis is placed on color theory, surfacetexture and form.

Forms And Structures I/II PRDS240/241 2 credits/2 creditsThe focus of this course of study is on theprinciples and elements of three-dimensionaldesign as they relate to form and structure inproduct design. Sequential projects of varyingcomplexity develop the student’s aesthetic eye andsolution finding skills through invention,construction and the application of theorganizational principals that bring unity andvisual solutions to objects and the space in whichthey reside. In class projects complement the mainDesign Studio I/II projects. Co-requisite for PRDS 200/201 Design Studio

Visual Communication I/II PRDS250/251 2 credits/2 creditsThis is a project-based studio focused ondeveloping hand-drawing skills as a core skill andprimary means by which to engage in the processof ideation and communication. Students developskills in both rapid visualization and moremethodical drawing techniques. In-class exercisesin sketching and rendering emphasize shape,perspective, dimensionality, and surfacecharacteristics. Students explore the integration ofvaried media and techniques to foster their ownpersonal vision and style. Course projectscomplement the main Design Studio I/II projects.Co-requisite for PRDS 200/201 Design Studio

Digital Design I/IIPRDS270/271 2 credits/2 creditsThese courses integrate 2D graphic design and 3Dcomputer-aided-design (CAD) as a means tocommunicate ideas and as a process for designand digital modeling. The emphasis in DigitalDesign I is on 2-dimensional graphic design as aprimary design tool to complement hand drawingskills and in the development and presentation ofdesign concepts. Students learn to integratetypography, image manipulation, aesthetics,storytelling, and audience with intent to persuade.In Digital Design II, students are introduced tocomputer-aided-design (CAD) as a primary meansto translate visual ideas into various types oftechnical drawings and three-dimensionalrenderings. Techniques include wire-framemodels, orthogonal projection, pictorials auxiliaryviews, tolerances and applying textural surfaces.Students learn to prepare files for the rapidprototype technology, tabletop laser cutting andthe CNC equipment to produce parts, sculpturaland design effects automatically. In class projectscomplement the main Design Studio I/II projects.Co-requisites: PRD200/201 Design Studio I/II.

Product Design

CourseDescriptions

135

Product Design

Design Studio III/IV PRDS300/301 4 credits/4 creditsThis course is divided into two separate studios –a hard-goods studio that focuses on durableproducts and a soft-goods studio that focuses onnon-durable products. In the hard-goods studiostudents learn design and construction skillsrelated to products that utilize hard or rigidmaterials. These products include; furnituredesign, home and office decor, consumerelectronics, personal care products, and more. Inthe soft-goods studio students learn design and thefabrication skills related to products that utilizefabrics or flexible materials. These productsinclude; shoe design, fashion accessories, homedecor and other products. Both studios focus onideation, creativity, and problem solving in thedesign process. Students explore design ideas,create concept drawings, and develop workingprototype models. Emphasis is placed on theintegration of culture, design, aesthetics,functionality, and technology. Consideration isgiven to emerging consumer trends, products, andproduct applications. Students are required to takeone semester of each studio. Co-requisites: PRD385/PRDS 386 Methods andMaterials I/II

Integrated Design Studio III/IV PRDS320/321 2 credits/2 creditsThis is an advanced course on the process ofcreativity that enhances the development ofcreative impulses, personal vision, problemsolving and innovative thinking. Through a seriesof projects, students learn to think laterally andexpress their ideas through the integration ofresearch, resource, art and design, color, texture,materials and methods and various technologies.

Digital Design III/IV PRDS370/371 2 credits/2 creditsThis is an advanced computer lab intended tobuild upon principles introduced in Digital DesignII. They explore advanced 3D softwareapplications to address industry standards in theindustrial design process and presentation.Content focuses on the advanced design and useof computer program output information as ameans to utilize computer-aided rapid prototypingtechnology and fabrication methods. Co-requisites: PRD300/301 Design Studio III/IV.

Methods And Materials I/II PRDS385/386 2 credits/2 creditsThese courses are divided into two sections eachrelated to the corresponding Design Studio areasof hard-goods design and soft-goods design. In thehard-goods course emphasis is placed on a basicunderstanding of mechanisms and the relationshipbetween internal components, structure and form,and the means by which multiple parts (includingdigital technology) are integrated in the finalproduct. Consideration is given to the relationshipbetween design solutions and issues related tomanufacturing feasibility, product cost, productperformance, utility, sustainability andmarketability. In the soft-goods course the focuson introducing the basics of sewing, patterndrafting, draping and other topics related tofashion trends, color, materials, processes andpractices related to non-durable goods. Throughlectures, field trips, and workshops, studentscomprehensively explore the characteristics,properties, and appropriate uses of materials forthe mass production in both of these two broadareas of products. Students are required to takeone semester of each studio. Co-requisites: PRDS300/301 Design Studio III/IV

Design Studio V/VI PRDS400/401 4 credits/5 creditsThe emphasis in the first semester is on thedevelopment of advanced product design skills,through the application of a design methodology,the integration of strategic design and the userexperience. Studio courses and projects arestructured into two areas of focus; soft goodsdesign and hard goods design. Students can electto have a focus in one of these areas or can chooseto take both both areas. Students engage inprojects of varying complexity to explore theissues of user interface, technology, userexperience and interaction design. In the secondsemester students have the opportunity to choose aproduct area and develop a thesis project thataddresses a cultural, social, economic,marketplace or user need and demonstrates theculmination of their undergraduate training as aproduct designer.

CourseDescriptions

136

Integrated Design Studio V/VIPRDS420/421 2 credits/2 creditsThese two-semester courses explore emergingtechnologies and interaction design based uponuser experience research. Students engage inresearch and apply functional analysis techniques,task and user modeling methodologies that lead tostrategic thinking in their designs. Emphasis isplaced on developing a proficiency incommunicating complex information in simpleterms for client presentation and productdevelopment. In class projects complement themain Design Studio and thesis projects.Co-requisites: PRDS 400/401 Design Studio V/VI.

Professional Practice I/II PRDS430/431 2 credits/2 creditsThese courses prepare students for the transitionto the professional world. The first semester is atrans-disciplinary course between the Otis andLoyola Marymount University (LMU) campuses.Otis students and Loyola MarymountEntrepreneurial students share classes inentrepreneurial studies and strategic design andform collaborative teams to develop a productidea, service or business, with a marketing andbusiness plan. The emphasis is on strategicthinking and entrepreneurial practices. In thesecond semester Otis students engage in a focusedbusiness course related to professional practicesfor designers and life-long learning skills.Discussion and class assignments address self-promotion, intellectual property rights, biddingand estimates, contractual agreements, taxes andbillable expenses, client communications, businessmanagement, entrepreneurial and interpersonalskills, ethics, and professional codes.

Digital Design V/VI PRDS470/471 2 credits/2 creditsEmphasis is placed on a full range of strategiesand skills required to organize accumulated workinto a market-ready professional portfolio andpresentation. Students learn a variety of computersoftware skills that includes; advanced Illustratorand Photoshop, Flash, DreamWeaver, motiongraphics, and typography. Emphasis is ondeveloping a proficiency in tactical presentationstrategies that deliver impact with visual andrhetorical force that will persuade the audience. Inclass projects complement the main DesignStudio, thesis and Senior Show projects.

Product Design

DepartmentFaculty

137

Product Design

Steve McAdamChairMFA (Film and Design) Cal Arts. Award-winningproduct designer and filmmaker with over 25years of design experience in the fields of productdesign, packaging, graphic design, animation andfilm. Former Director of Product Design for theActivities Design Group at Mattel Toys. VicePresident of Creative Services for the Leo PaperGroup International. Clients: Hallmark, Disney,Nickelodeon, Wham-O, Penguin-Putnam, Simon& Schuster, Zondervan, and McDonalds. Formerdocumentary filmmaker. Assistant animator fortelevision and motion pictures. Professional workincludes Hanna Barbera, Jay Ward, Mirakami-Wolf and Pantomime Pictures cartoons, and thefeature film “Yellow Submarine,” and featuredocumentaries “Woodstock” and “GimmeShelter.” Twice awarded the Cine Golden EagleAward for best educational documentary (1974,1976), winner of the Esquire Magazine FilmFestival for dramatic short (1969), winner of theToy of the Year Award from Mattel. Member ofIndustrial Design Society of America.

Michael KollinsAssistant Chair, Associate ProfessorBFA (Industrial Design/Transportation Design)Coll. of Creative Studies, Michigan. FormerSenior Director of Product Development at ToyQuest designing video books, musical instruments,and vehicles. Senior Designer at Ford MotorCompany in advanced concepts and specialexterior and interior features. Product Designer atPlaymate Toys designing for multiple lines: NinjaTurtles, Speedez, and games. Mgr. Prod. Design atMattel for Hot Wheels Adult Collector segment.Vice Chair West Chapter and member of IndustrialDesign Society of America.

Tanya AguiñigaMFA (Furniture Design) RISD, BA (FurnitureDesign) San Diego St Univ. Member of the Bi-national artist collaborative BAW/TAF andartist/designer. Exhibited in Milan, Mexico.Publications include (ital) Wallpaper and "PureDesign: Objects of Desire" (Spain). US ArtistFellowship, USA Target Fellow.

Michael AndrewsLecturerBA (Industrial Design) Pratt Institute. Specialist indesign and integration of technology andinteractive software. Awarded four patents. Staff designer for 23 years at Mattel. Exhibitiondesigner for Glen Fleck Assocs, pioneeringpioneering the first interactive museum exhibits inLos Angeles.

Larissa BankSenior LecturerMFA Cal Arts; MFA Univ. of Md. College Park.Produces painting, sculpture, drawing, video,electronics, and computer based projects.

Steve BoyerSenior LecturerMArch (SCI-Arc), BA (Music) Northwestern Univ.and Art Inst. of Chicago. Pioneering designer of interactive art and technologies (awarded twopatents), video game producer, engineer, artist.Educator in UC system in electronic art and design.Director of R&D for Vivendi Games SierraEntertainment, Founder and Principal Designer forSkyBoy Productions Inc., formerly Director ofSoftware Development for Exit Entertainment.

Igor BurtB.S. (Product Design) Art Center. Founder ofProtein Industrial Design in La Jolla Californiaspecializing in footwear, sports equipment andapparel, consumer electronics, and toys. Clientsinclude Adidas, Salmon Sports, Clive, EagleCreek, Redley, Flexfit, Adio, Targus, Patagonia,Nokia, Mattel, Hughes Aerospace, MGAEntertainment, and Seismic Skateboards. AwardOutside Magazine’s Gear-of-the-Year Award.Exhibited at SFMoMA "Design Afoot."

Jason BurtonAssistant ProfessorBFA Otis (Environmental Design), StudiedArchitecture at SCI-Arc. Freelance sustainableenvironmental designer. Professional activitiesinclude job-site administrator for R&DArchitects, Venice, CA, Assistant Manager andinstructor, SCI-Arc woodshop. Publications:Architectural Digest and ID Magazine.

DepartmentFaculty

138

Rogan FergusonAdjunct Assistant ProfessorMS (Architecture) Yale Univ. Former designer forFrank Gehry on design and architectural projects.Principal of Rogan Ferguson Studio, a designconsultancy and instructional workshop thatdevelops complicated curving and sculpturalforms utilizing cutting-edge software.

Jonathan FidlerSenior LecturerBA (Graphic Design/Typography) Univ. Plymouth,Exeter, U.K. Higher National Diploma (HND)(Design/Photographic Mgt.) Fylde CollegeBlackpool U.K. Founder and principal of Solubile, afull-service communication/graphic design agency.Formerly Creative Director for CluworksMultimedia, Director of Sales for AVID Telecom,and served in various creative and design capacitiesfor Colliers Seeley, Digital Boss, IlluminateMagazine and UPSU Exeter. Member of the Boardof Directors for the Foundation of Art Resources.

Kristen FosterSenior LecturerMFA Otis. BA Cal St. Univ. Northridge. FineArtist/sculptor, and graphic designer. Soloexhibition at Otis Bolsky Gallery. Selected groupexhibitions at USC Roski MFA Gallery, HelenLindhurst Fine Arts Gallery, "Supersonic," L.A.Art Fair.

Maggie HendrieSenior LecturerDiplome Des Etudes Approfondies (DEA)Multimedia Design & Communication, Paris VIIIUniv., France; MSc Communication &Information Science, Nouvelle SorbonneUniversity, France; MA (ord), EdinburghUniversity, Scotland; Currently director of UserExperience at Sony Pictures Entertainment, withover 18 years innovating and deliveringsuccessful retail, consumer and software productsfor large and small companies in Europe and theU.S. Clients include Harley Davidson, ToyotaFinancial Services, Sony Corp., Houghton-Mifflinand Hachette.

Linda HudsonAssociate ProfessorMFA Art Center; BA CSU Northridge. Artist anddesigner. Design consulting projects includeextensive space planning, lighting, furnituredesign for commercial and residential interiors,consultation on color and materials for interiorsand exterior. Recent projects include a 4,000 sq fthome of reclaimed materials and local stoneadjacent to Yosemite, and 52 low-income units forPalm Springs. Solo art exhibtions at Univ. ArtMuseum Berkeley and Santa Monica Museum ofArt. Group exhibitions at Whitney EquitableCenter, New York, Nevada Institute ofContemporary Art and Pittsburgh Center for theArts. Reviews in Art News, New York Times, Arts,and Vytvarne Umenf: The Magazine forContemporary Art.

Robert HuntSenior LecturerBS (Env Design) Art Center. Principal/PartnerStudio E Design, Inc. Concept illustratorresponsible for collaborating with directors andproduct designers on numerous motion pictures,music videos, and television commercials.Products: Mercedes, Lexus, Lincoln, Nissan,Acura, Volkswagen, Volvo, Pepsi, Mountain Dew,Budweiser, Coors Light, Taco Bell, GeneralElectric, American Express, L’Oreal, Cover Girl.Member: IATSE, Illustrators and Matte Artists.

Elena ManferdiniSenior Lecturer MS (Architecture) UCLA and professional degree(DAPT) Engineering Univ., Bologna Italy.Architectural design, sculpting and product designin various industries such as fashion, object design,aeronautics, car design, architectural designs andinstallations. MAK residency at the SchindlerHouse; Iceberg Award for Industrial Design (Italy2000); AIA Award (USA, 2000 and 1999).Exhibitions: MAK Center; Japanese AmericanCultural Center, L.A.; Santa Monica Museum ofArt, Armand Hammer Museum, and AmericanPavilion Architecture Venice Biennale 2000.

Product Design

DepartmentFaculty

139

Product Design

Adam O’Hern BFA (Industrial Design) Columbus College of Artand Design. Former designer for Black & Decker,Hewlett-Packard. Freelance designer/consultantfor clients including Coleman, Carbon Design,Teague, Yummy Media, The Buzz Group.Awards: Red Dot Design Team of the Year, CCADTrustee Scholarship and Foundation ExcellenceAward Scholarship.

Christopher PaternoSenior LecturerMFA (Furniture Design) RISD, BA (CommercialArt with Photography Concentration) RoanokeColl. Created Green Materials Library for RISD.Professional practice is focused on eco-consciousproduct design, and sustainable buildingmethodologies.

Drew PlakosSenior LecturerMBA, Univ. of St. Thomas, MN; BA (IndustrialArts), CSU LA. Owner InSight Out LLC, providingproduct development services to the toy andpremium trades. Extensive experience concepting,developing, designing and manufacturing premiums,toys, children’s articles, housewares, and leisureproducts for Mattel, Lakeside Games, Schaper,Thermos, and Strottman Int'l.

Karen RegoliAdjunct Assistant ProfessorAFA (Fashion) Otis. Royal College Of Art U.K.,Fullerton College. In-depth experience in variousareas of fashion design with a specialty in customdesigned wedding gowns, costumes and uniquefashions and performance wear. Member of theLACMA Costume Council.

Behnam SamarehSenior LecturerPhD, MArch (UCLA), BS, BFA (Univ. Maryland)Virtual Environment Architect, and interactiondesign. Principal / Designer for Plasis Design,LLC an architectural, event design studio thatspecializes in the design and creation of real-timevirtual environments, user interfaces, publicationsand web-basted materials. Awarded the UCLADissertation Fellowship and Alumni Fellowship,Blair Graphics Fellowship, Golden Key NationalHonor Society.

Joan Takayama-OgawaAssociate ProfessorMA (Education) Stanford Univ.; BA (Geography/East Asian Studies) UCLA. Educator and ceramicartist in public collections of Renwick Gallery,Smithsonian Institution; LACMA, OaklandMuseum, Long Beach Museum of Art, CelestialSeasonings, Hallmark Racene Art Museum.

Randall WilsonProfessorM.A. Otis College of Art and Design; B.A.,Colorado State University. Awards: LAAIAEducator of the Year. Merit Award, ACSAHonorary Award. National Merit Award U.S.Department of Transportation. Publications: WallStreet Journal, Abitare, the New York Times,Metropolis, Dwell, Graphis, LA Architect amongothers. Interviews: CNN World News. Teaching:Art Center College of Design, SCI-Arc,Thaichung University (Taiwan), Otis College ofArt and Design, Pepperdine, Tulane.

DepartmentGoals

140

The Toy Design Department prepares diverse studentsthrough a high-quality curriculum, taught by experiencedfaculty, to develop the marketable skills necessary forprofessional success as a designer in the toy industry orrelated fields. Students in the Toy Design Department will:

Toy Design

• Develop their individual expression andan entrepreneurial attitude, which resultsin unique, creative, innovative conceptsand designs.

• Gain industry knowledge by learning thekey areas of design and differentcategories recognized within the industry.

• Learn the necessary technical designskills used in the industry, includingconcepting, drawing, model-making, andcomputer skills.

• Develop their professionalism bypracticing strong work ethics, as well aseffective communication andpresentation skills.

• Build mentoring relationships withguidance by professionals throughcorporate sponsorships, industrycritiques, and internship programs.

• Learn to design with intent byunderstanding a designer's role as itrelates to marketing and engineering.

DegreeRequirements

141

Toy Design

Sophomore Year Fall SpringTOYD200/201 Toy Design I/II 3.0 3.0

TOYD220/221 Drawing I/II 2.0 2.0

TOYD230 2D Visualization 2.0 –—

TOYD231 3D Visualization l –— 2.0

TOYD240/241 Model Making I/II 2.0 2.0

TOYD250/251 Methods & Materials of Production I/II 2.0 2.0

TOYD261 Conceptual Problem Solving & Brainstorming –— 2.0

SSCI211 Child Psychology 3.0 –—

ENGL202 Sophomore English 3.0 –—

ILML 200 Integrated Learning Lecture –— 3.0


Junior Year Fall SpringTOYD300/301 Toy Design III/IV 4.0 4.0

TOYD320/321 Drawing III/IV 2.0 2.0

TOYD330/331 3D Visualization II/III 2.0 2.0

TOYD340 Model Making III 3.0 –—

TOYD455 Portfolio Development –— 2.0

*ILMS300 Integrated Learning Studio 2.0 –—

MATH 136 Math for Artists and Designers –— 3.0

AHCS236 History of Toys –— 3.0

AHCS220 Contemporary Perspectives in Art and Design 3.0 –—


Senior Year Fall SpringTOYD400/401 Toy Design V/VI 4.0 4.0

**TOYD415 Career Development 2.0

TOYD420/421 Drawing V/VI 2.0 2.0

TOYD425 Games and Game Theory 2.0 –—

TOYD430 Package Design –— 2.0

TOYD450 Toy Industry Practices 2.0 –—

LIBS454 Business Practices –— 2.0

NSCI308 Juvenile Anatomy and Ergonomics 3.0 –—

Advanced Topics in English or –— 3.0


AHCS 310 Art History Elective 3.0 –—

*LIBS 440 Senior Liberal Studies Capstone –— 3.0


*These courses may be taken either in the fall or the spring semester

**Note: TOYD415, Career Development: Though the coursework portion of this class is offered during the fall semester,students are encouraged to participate in an industry internship during the summer between junior and senior years.


Sciences section.

CourseDescriptions

142

Toy Design I/IITOYD200/201 3 creditsIn these courses, students develop anunderstanding of the creative process of toydesign. Emphasis is placed on developing toyswhich engage children in what is referred to in thetoy industry as a “play patterns.” Students applyskills in drawing, model making, and fabricationto create original toys which engage children inimaginative play and shape developmental skillsand decision-making, socialization and creativity.The students learn to conduct market research andanalysis to insure that their designs are appropriatefor the category of toys they are designing. Usingvarious fabrication techniques, students willtranslate their idea into 3D models, and presentthe final products to faculty and visiting toyindustry professionals.Lab Fee - Toy Design I/II - $50.00

Drawing I TOYD220 2 creditsThe purpose of this class is for students to becomefully articulate in a new drawing language calledVisual Communication. To communicateeffectively, a designer needs to have at theirdisposal a broad range of drawing tools withperspective being the foundation. Students spendthe semester becoming familiar with the principalsof perspective and more importantly, they learnthe useful particulars and shortcuts pertaining tosketching.

Drawing II TOYD221 2 creditsThis second semester course is an introduction tothe theory and practice of sketching, drawing, andrendering techniques as applied to toy product.Focus is on rapid vis sketching as well as markerrendering, which enable the designer to conveyinformation about surface characteristics such ascolor, texture and material.

2D VisualizationTOYD230 2 creditsIn this course students acquire the skills necessaryto take a concept from a rough sketch to a refinedset of technical illustrations. Students will learn toproduce illustrations accurately that will conveytheir design intent and serve as a blueprint whencreating a prototype model. The students areintroduced to the basic drawing tools in Adobe

Illustrator. The skills learned during this coursewill continue to be utilized throughout theremainder of the Toy Design studio courses.

3D Visualization ITOYD231 2 creditsThis class examines the computer as a means toconstruct and render an idea via 3D-modeling, andthen to output that information for computer aidedrapid prototyping. It introduces Computer AidedDesign (CAD) programs as toy design tools.Students start with Rhino, a 3D-modeling programthat emphasizes the 3D construction and surfacerendering of ideas and output to the rapidprototyping machine.

Model Making I TOYD240 2 creditsThis course teaches the basics of sculptinglicensed characters from 2-D turnarounddrawings. Students then learn to make molds ofthe sculpted figures, to cast them in resin, andthen to paint the cast figures.Lab Fee - $245.00

Model Making II TOYD241 2 creditsThis course introduces students to plasticfabrication and prototyping concepts through theuse of various methods.Lab Fee - $100.00

Methods and Materials of Production I TOYD250 2 creditsMaterials used for manufacturing within the industryare important because they determine the durabilityand safety of toys, toy use by consumers, and themethods and costs of production. Each of theseissues must be considered in order to successfullydesign and market a toy. This course focuses on differentmanufacturing processes as well as the understandingand use of materials used in toy design.

Methods and Materials of Production II TOYD251 2 creditsThis second-semester course explores moreadvanced manufacturing processes and materials.Discussion focuses on the fundamentals of plasticcomponents and on design, exploring thepossibilities and limitations associated with plastictoy components.

Toy Design

CourseDescriptions

143

Toy Design

Conceptual Problem Solving andBrainstorming TOYD261 2 creditsBrainstorming is an essential part of the toydesign process; therefore, this class emphasizescreativity through brainstorming techniques.Additional focus is on cobbling up quick toyideas, given a specific design category.

Toy Design III/IV TOYD300/301 4 creditsIn these courses, students will expand on andapply principles they have learned in Toy Design Iand II to create original toys which can beexpanded to become a toy brand with lineextensions. Students will utilize analog and digitaldrawing skills, technology including digital designsoftware for rapid proto-typing, and exploremethods of fabrication using a variety ofmaterials. Students will learn the most effectivemethods of presenting their toy concepts visually,demonstrating new features digitally when it is themost effective way of communicating playpatterns and function. Corporate sponsoredprojects may occur during either semester, butregardless, critiques will include visiting toyindustry professionals.

Drawing III TOYD320 2 creditsStudents focus on the full understanding ofmaterial indication in monochromatic values.Topics covered include concept sketching,composition, layout, perspective drawing, usingsketching as a design tool, and understanding andrendering reflective forms.

Drawing IV TOYD321 2 creditsThis course introduces the computer as a digitaltool, building upon sketching and renderingtechniques learned in previous drawing classes.

3D Visualization ll TOYD330 2 creditsA more advanced version of Technical IllustrationII, this course continues the use of Rhino, the 3Dmodeling program used in the construction ofprototyping models. By using Computer AidedDesign (CAD) programs (the same as in the toyindustry) students learn advanced modeling andprototyping techniques. Students will be

introduced to Studio MAX for several styles ofrendering and basic animation skills. This coursecombines instruction on the computer withguidance in the standard requirements for theproduction of 3D models through output to therapid prototyping machine.

3D Visualization lllTOYD331 2 creditsThis is an advanced computer lab course thatallows students continue to develop their3D modeling skills with Rhino and learn moreadvanced modeling techniques. Studentswill continue to develop their Studio MAX skillswith more advanced rendering and animationskills. The course will introduce Adobe AfterEffects as a means to create more compellingdigital video presentations with animation, titles,sound effects, and transitions. Content focuses onthe advanced use of computer programs to outputmodels for on-going projects. Students applyacquired learning to improve toy design projectsfor use in their portfolios.

Model Making IIITOYD340 3 creditsThis course focuses on advanced model makingskills and techniques involving the lathe and millingmachine with an emphasis on the issues and problems related to the projects developed in ToyDesign III. Also included is an emphasis onadvanced sculpting, molding, casting techniques, and building articulated armatures for action figures.Lab fee - $150.00

Portfolio Development TOYD455 2 creditsThis course concentrates on the organization and presentation of the student's portfolio. Additionalattention is given to interviewing skills andtechniques. Students will also develop a promosheet and resume. All work will be presented inboth analog and digital formats.

Toy Design V/VI TOYD400/401 4 creditsThese courses are advanced level courses in whichstudents continue in their development ofconceptual, technical, and creative skills andmethodologies relating to toy design. Emphasis isplaced on identifying future trends and technologyand integrating them into the toy design process.

CourseDescriptions

144

Students will have been exposed to the unique anddifferent categories of toys and children’s productsand how those products are part of larger brandsand entertainment properties. Corporate-sponsoredprojects may occur during either semester, butregardless, critiques will include visiting toyindustry professionals. The students will have hadthe opportunity to participate in summerinternships where they gained “real world”experience, and will be able to apply that learningas well as their classroom experience to designand prepare their senior show. It will showcasetheir talents, and is held at the end of the semester.

Career Development TOYD415 2 creditsThis class is the follow-up to the summerinternship that the students participated in with atoy company. A formal presentation of thestudents' job duties and company profiles arerequired. In addition, the course will coverinterviewing skills, research and targetingpotential job prospects, and preparation of oraland written communications.

Drawing V TOYD420 2 creditsUnderstanding of form and material indicationfrom the previous semester is now executed in fullcolor. The course starts with the application ofcolor to backgrounds and other simple elementsused in concept sketching. By the end of thecourse, students are rendering at photo-realisticlevels using the computer as a digital tool.Students learn how to render a toy of their owndesign in full color at a professional level.

Drawing VI TOYD421 2 creditsThis is an advanced computer lab course thatallows students to apply their knowledge fromprior drawing classes to on-going projects in aneffort to build their portfolios.

Games and Game Theory TOYD425 2 creditsThis course focuses on game theory from abehavioral science perspective, and applies thatperspective to an understanding of a variety ofgames. The course includes a historical and cross-cultural emphasis. Students create an originalgame.

Package Design TOYD430 2 creditsPackage design focuses on creating three-dimensional solutions to solve a variety ofpackaging and retail problems. In addition tomarketing issues, package design addresses avariety of storage and safety concerns. Thestudents address these issues as well as thegraphic treatment of the package.

Toy Industry Practices TOYD450 2 creditsThis course provides an introduction to marketingand product management within the toy industry. Discussion focuses on the four guiding principalsof brand management: product, packaging,placement, and promotion. Various topics includeconsumer behavior, market research, productdesign, pricing, retail sales, merchandising,advertising, and promotions.

Independent StudyTOYD999 1-6 creditsIndependent studies provide an opportunity forstudents to work closely and collaboratively withfaculty on assignments that extend the scope oftheir current interests, or expand their expertise.Applications for independent study projects arereviewed and approved by the department chairbased on proposals submitted by interestedstudents.

Special Topics:3D Visualization IVTOYD 460 2.0 creditsThis elective class is designed as an advancedcomputer class for senior Toy Design studentswhere they will explore open-ended projects oftheir own design, building on skills from priorclasses in Technical Illustration III and IV.Students will explore advanced techniques ofdesign with Rhino using the software itself as wellas specialized plug-ins such as T-Splines formodeling and V-Ray for rendering. The class willalso cover techniques and strategies for postprocessing of renderings in Photoshop, allowingstudents to work faster and smarter in aprofessional production environment

Toy Design

DepartmentFaculty

145

Toy Design

Deborah RyanChairBS Magna Cum Laude (Design) University ofCincinnati College of Art and Design,Architecture, and Art. Award-winning designerwith extensive experience in designing toys,licensed products, apparel, dolls, feature plush,novelties, gifts, and other consumer products forMattel, Disney, Applause, and Kenner Toys.

Rebecca Salari TaylorAssistant Chair, ProfessorMA, BA (Design) California State University, LosAngeles. Toy designer and digital artist. Pastclients include Mattel Toys, Playmates Toys,Universal, Tomy Toys, Becca Design. Clientsinclude Cunard Lines and Hilton Hotels. Director,LJN Toys R&D/packaging. Owner, Pacific EdgeDesign.

Michael AlbertSenior LecturerBFA (Design) Columbus College of Art & DesignTexas A & M, (Aerospace Engineering)Owner/Designer Dream Themes; Owner/Designer,Innovation Design Concepts; Project Designer,Mattel Toys; Manager R & D, Planet EarthEntertainment; Sr. Animation Designer, WaltDisney Imagineering. Consultant with extensiveconceptual design and engineering experience.

Candace CorreaSenior LecturerBA Colby College; MBA The Anderson School atUCLA; MA Latin American Studies at UCLA;Seasoned marketing professional with over 13years experience in marketing, strategic planningand brand management. International Marketing,The Walt Disney Company; Multi-culturalMarketing, Sears; Global Product Marketing,Eastman Kodak Company; Product Manager,Mattel; CMO of her own product company.

Bill EckertProfessorMFA, BA (Art), San Diego State Univ. Nationallyexhibited realist painter and muralist. Worksshown at San Diego Fine Arts Museum; LosAngeles Municipal Art Gallery; 20 Warren Street,N.Y. Professional activities include consulting forRupert Murdoch, Marvin Davis, Ted Fields, andDick Clark, and managing projects for Intertec, alighting research and development company.

Dan GarrSenior LecturerBA (International Relations) UC Davis. President of Hot Buttered Elves, Inc. Clientsinclude Disney, Warner Bros., Hit Entertainment,Dreamworks, and Marvel. Extensive specialeffects for “Forever Young,” “Heart and Souls,”“Leprechaun,” and “Titanic.” Invented andpatented Wallables.

Gary GerathsProfessorMFA (Drawing and Painting) Claremont GraduateUniv., BFA (Drawing and Painting) CSU LongBeach. Figurative draughtsman, representationalpainter, and courtroom artist. Exhibitions includeWestern Front Gallery, Vancouver, BC; and FryeMuseum of Art, Seattle, WA. Professionalactivities include teaching/consulting for Disney,Mattel, and Sony. Author/Illustrator of DrawingAnimals (Gainsway Press).

Jeannie HardieLecturerMA (Writing and Film) Regent University. BA(English Literature) Oral Roberts University.Creative Director Deadline Creative. Toy, game,and licensing consultant. Previously SeniorDesign Manager, Mattel Games & Puzzles.Licensed product lines for Yu-Gi-Oh, HarryPotter, Batman, Looney Tunes, Justice League,and Sponge Bob.

DepartmentFaculty

146

Virginia HeinSenior LecturerMFA (Fine Art) CSULB. Independent artist anddesigner. Concept design of girls toys andaccessories, preschool toys, plush, home décor,gifts and jewelry, painting and illustration.Formerly Staff Designer at Mattel Toys, Applauseand Galoob Toys. Past projects include licensingproduct concepts for the Vatican Library.

Candace LavinAdjunct Assistant ProfessorBA (Graphic Design) CSU Northridge. “Dr.Toy”award winner. Professional experience includesenvironmental graphic design for Walt DisneyImagineering, product design of toys, collectibles,and specialty gifts for Applause, Warner Bros.,and Disney.

Lee LoetzSenior LecturerBA UC Davis; studied at California Institute ofthe Arts CharacterAnimation; ExperiencedCreative professional with over 15 years intheproduct and entertainment industry. The WaltDisney Company/Disney ConsumerProducts.Currently run my own design firm, Popfly Design.

Marcus MacielLecturerBFA (Toy Design) Otis Senior Digital Designer, Digital D&D SupportGroup Mattel, co-manager Digital Training Centerat Mattel. Previously worked in Hot WheelsEngineering group – modeled/reversed engineeredFerrari, Ford, Dodge, GM, Chrysler, Toyota, andHonda company vehicles.

Joyce MeschLecturerStudied (Glass) California Coll. of Arts andCrafts. Extensive experience in the design anddevelopment of girls, infant and pre-school toys,feature plush, novelties, pet products and jewelry.Former Staff Designer at Fisher-Price, SeniorProject Designer at Mattel, freelance graphicdesigner, and Art Director at Discover magazine.

Hanjin ParkLecturerBA Otis. Toy Designer at Jakks Pacific Inc., in theRoad Champs Group. Worked on Creepy Crawler,Fly Wheels 2.0, GX Racers, GX Skate, LaserChallenge, MXS, and seasonal items.

Drew PlakosSenior LecturerMBA, Univ. of St. Thomas, MN; BA (IndustrialArts), CSU LA. Owner InSight Out LLC.providing product development services to the toyand premium trades. Extensive experienceconcepting, developing, designing andmanufacturing premiums, toys, children’s articles,housewares, and leisure products for Mattel,Lakeside Games, Schaper, Thermos, andStrottman Int'l.

Norene RoxburySenior LecturerAA (Fashion Design) Fashion Inst. of Design andMerchandising. Freelance designer specializing intoy design, 3D prototyping, children and missesapparel, pattern making and illustratedpresentations. Former creative manager atApplause working on licensed brands such asChildren's Television Workshop, Warner Brothers,Disney, Hanna Barbera, and Paramount.

Dave Schultze Senior LecturerMS (Industrial Design) Art Center, BA(Architecture) Univ. of Oklahoma Coll. of Design.Independent designer with a firm servicing clientsincluding Microsoft, Mattel, LEGO, Applause.

Toy Design

DepartmentFaculty

147

Toy Design

Alton TakeyasuBS Transportation Design, Art Center. Mattel Toys1991 to present.Current title: Chief Designer,creative and entertainment for Mattel Wheels,Previously Sr. Director, Mattel Hot WheelsDesign. In charge of Kid,Innovation and Entertainment. Previously Sr.Director, Mattel Inventor Relations. PreviouslySenior Director, Mattel Entertainment Design.In charge of all action figure and licensedentertainment-based properties and internallydeveloped intellectual properties. Projects:Maniacs, Speed Racer Movie, Superman Returns,Toy Story, Bugs Life, Cars, Harry Potter, SpongeBob, Max Steel creation team, HeMan, NBA,Street Sharks, Rock'em Sock'em, Ghostbusters,Star Wars, Robocop, MASK, Batman, JusticeLeague, Hot Wheels Battle Force 5. StaffDesigner at Kenner Toys Advanced ConceptDesign (1984-1991).

Mark TrageserBFA Industrial Design: Minor in sculptureCleveland Institute of Art.Over fifteen years of toydesign experience working with all major toycompanies, entertainment studios, video gamedevelopers, international manufacturers, andothers (Hasbro, Mattel, Jakks Pacific, P&G,Staples, Warner Brothers, Pixar, Disney,Activision, Kodak, and more) and has creatednumerous brands; MADnetics, Formula Fuelers,Knot Wud, and more. Is named on numerouspatents. International lecturer on creativity andinnovative design. Has eclectic backgroundincluding; silversmith, robot builder, graphicdesigner, butcher, toy expert on "The Apprentice",sculptor, jeweler, furniture designer and muchmore. As an independent inventor and founder ofKram-Co Inc has won awards for productinnovation in several fields.

April WilsonLecturerAA (Fashion Design) LA Trade Tech Coll.Freelance designer specializing in toy design, 3Dprototyping, pattern making and illustratedpresentations. Former Head Designer at Cal Toysworking on licensed brands Warner Brothers,Disney, Hanna Barbera, and Paramount.

Paul Winter Senior LecturerBA (Journalism and Advertising) San Diego StateUniv. Creative Director and Staff Copywriter,Mattel. Product lines include Games, Barbie, HotWheels, Disney, and Nickelodeon.

DepartmentGoals

148

The Graduate Fine Arts Program encourages young artists to think critically and challenge existing modes of expression. Students in Graduate Fine Arts will...

Graduate Fine Arts

• Practice a high level of self-criticismneeded for consistentdevelopment and growth in their work.

• Learn from a variety of diverseexperiences and resources representing awide range of disciplines and points ofview.

• Develop a working knowledge of andrelationship to art history, criticism, andtheory.

• Build on the communication skills neededto clearly and effectively expressthemselves.

• Develop the technical and theoreticalresources and confidence to realize theirprofessional ambitions.

• Form the self-reliance and selfmotivation needed to sustain aprofessional career.

• Cultivate a sense of competition andcamaraderie.

DegreeRequirements

149

Graduate Fine Arts

First Year Fall Spring

LIBS650/651 Critical Theory and Practice 3.0 3.0

GRAD 620/621 Graduate Studio I/II 3.0 3.0

GRAD 610/611 Graduate Critique 3.0 3.0

AHCS 575 Special Topics in Art History 2.0 2.0

*Electives 4.0 4.0


Second Year Fall Spring

GRAD 720/721 Graduate Studio III/IV 3.0 3.0

LIBS774/775 Thesis I/II 3.0 3.0

GRAD 710/711 Graduate Critique 3.0 3.0

AHCS 575 Special Topics 2.0 2.0

GRAD 774 Professional Practice 1.0 –—

GRAD 775 Exhibition Preparation –— 1.0

*Electives 3.0 3.0


*In addition to Independent Studies, electives may be taken from the offerings of Fine Arts, Liberal Arts and Sciences andother departments with departmental approval.

CourseDescriptions

150

Special Topics in Art HistoryAHCS 575 2 creditsThis course spotlights a different subject andinstructor each semester. Instructors offer theirown expertise on topics relating to contemporaryissues involved in artistic practice.

Graduate CritiqueGRAD 610/611/710/711 3 creditsIn this two-year course sequence, all graduatestudents, regardless of media, discuss commonissues of studio practice. The course provides anin-depth discussion and investigation of how anartist's work is perceived as a public statement,and how one's work exists in the world. Required.

Graduate StudioGRAD 620/621/720/721 3 creditsThis two-year course sequence focuses on eachindividual student's practice, specifically directedtowards aesthetic and technical issues arising outof their work. Students meet with a number ofindividual instructors on an independent basis, asthey have work or issues prepared for discussion.Required.

Critical ThoughtGRAD 651 2 creditsThis course builds on discussions from theInterdisciplinary Critiques, focusing theconversation to a more specific, in-depth level.From political, sociological or psychologicalpoints of view, the students and instructor explorewhat it means to have a critical practice and theramifications of language and intent. Presentationsare required.

In ContextGRAD 652 2 creditsThe instructor contextualizes presentations byvisiting guest lecturers through readings andpresentations. The class prepares students toevaluate guest lecture presentations in an informedand intelligent manner, and to see their work andthe work of their colleagues more clearly.Presentations are required.Students who elect this course MUST also sign upfor Visiting Artist Lecture Series.

Professional PracticesGRAD 774 1 creditA seminar in which the intricacies, idiosyncrasiesand responsibilities of the professional artist arediscussed and deconstructed.

Critical Theory and Practice I/IILIBS650/651 3 credits/3 creditsThe in-depth examination of a critical ortheoretical text focuses on contemporaryissues in art, philosophy, politics, or criticism.

ThesisLIBS 774/775 3 creditsThis course encourages and trains students towrite a thesis about their own work throughthe development of the requisite critical writingskills which will serve them in the future whenapplying for grants as well as preparing them forthe literary demands of an artist's career.

Exhibition PreparationGRAD 775 1 creditEach student in the final year works on theorganization, planning, and installation of MFAexhibitions. The course focuses on exhibitionpsychology, design, and documentation.Additionally, the professional practices needed forwell-planned entry into the art world arediscussed.

Visiting Artist Lecture SeriesGRAD789 1 creditThis is a weekly lecture series where artists,theorists and curators present their own work anddiscuss some aspect of contemporary visual artthat is of interest to the graduate studentcommunity. The class can be taken alone, or inconjunction with In Context.

Graduate Fine Arts

DepartmentFaculty

151

Graduate Fine Arts

Roy DowellChairMFA, BFA California Institute of the Arts.Nationally and internationally exhibited artist.Paintings, collages and sculptures are includedextensively in private, public, and museumcollections. His work is the subject of a recentcatalogue that presents selected works from 1981-2005, in conjunction with an exhibition at theMargo Leavin Gallery, Los Angeles. Recipient ofthe J. Paul Getty Fellowship and a regular Artist-in-Residence at the Anderson Ranch Art Center,Snowmass, Colorado. His work has recently beenexhibited in New York at Lennon WeinbergGallery and also at Galerie Schmidt Maczollek inCologne, Germany.

Annetta KaponAssistant Chair, ProfessorMFA (New Genres) UCLA, MA Univ. of London,BA Aristotle Univ., BFA Otis College of Art andDesign. Nationally and internationally exhibitedartist. Publications include articles in the LA Times,Biennale of Sydney Catalogue, Frieze, and Womenin Dada. Recipient of several artist residencyfellowships as well as California CommunityFoundation and Pollock-Krasner grants.

Judie BamberSenior Lecturer BFA California Institute of the Arts. Representedby Angles Gallery in Los Angeles. Soloexhibitions at Laurie Rubin Gallery and GorneyBravin + Lee in New York, NY; Roy BoydGallery, Richard Telles Fine Art, Angles Galleryand Pomona College Museum in Los Angeles,CA. Group exhbitions include “Sexual Politics:Judy Chicago’s Dinner Party in Feminist ArtHistory,” UCLA Hammer Museum of Art, LosAngeles; “In a Different Light,” University ArtMuseum, University of California, Berkeley,California; “Contemporary Identities: 23 Artists,”The Phoenix Triennial, Phoenix Art Museum,Phoenix, Arizona; “Paper Trails: The EideticImage,” Krannert Art Museum, University ofIllinois at Urbana-Champaign, Illinois; “L.A. Hotand Cool,” MIT List Visual Arts Center,Cambridge, Massachusetts. Awards include ArtMatters Inc. Grant in 1992, the COLA grant in2008 and the California Community FoundationGrant in 2008.

Kathrin BurmesterLecturerMFA Otis College of Art and Design; BFA Schoolof Visual Arts, N.Y.; Works exhibited at LoraSchlesinger Gallery, Santa Monica; SeelineGallery, Santa Monica; LA Freewaves, UCLAHammer Museum; Max Ophüls Film Festival,Saarbruecken, Germany. Recently exhibited workat Jim Kempner Fine Art in New York andArtower Gallery in Athens, Greece.

Cletus Dalglish-SchommerLecturerMFA (Interdisciplinary Studio) UCLA, A.B.Honors (Art History and Studio Art) PrincetonUniv. Contributing editor to Cabinet. Board ofDirectors of the Foundation of Art Resources.Essay on the work of Eric Wesley published in thecatalog for the Studio Museum in Harlem's“Freestyle” exhibition.

Abdelali Dahrouch LecturerMFA Pratt Institute, BA State University of NewYork, Cortland. Whitney Independent StudyProgram; Cultural Exchange Station, Tabor CZ;the Metamedial Center for the Arts, Plasy CZ;Ashkal Alwan, The Society of Plastics Arts,Beirut, Lebanon. Group and solo exhibition inL.A., Berkeley, Portland, New York, Athens (GA),Dearbon (MI), and internationally in Spain, CzechRepublic and Jordan. Publication in Third Text.

Linda HudsonAssociate ProfessorMFA Art Center College of Design, BA CaliforniaState University, Northridge. Architectural/interiordesigner, installation artist/sculptor. Numerousdesign projects involving space planning, lighting,furniture, and fixture design. Solo exhibitionsUniversity Art Museum, UC Berkeley and Santa Monica Museum of Art. Group exhibitionsNevada Institute of Contemporary Art, andPittsburgh Center for the Arts. Reviewed in Art Issues, Art Week, and Vytvarne Umenf: TheMagazine for Contemporary Art.

DepartmentFaculty

152

John KnightSenior LecturerMFA (Fine Arts) University of California, Irvine.Exhibitions in Belgium, France and Spain.Interviews and texts include Texte Zur Kunst, Heft59 o Art Since 1900: Modernism, Antimodernism,Postmodernism, Neo-Avantgarde and CultureIndustry: Essays on European and American Artfrom 1955 to 1975, New Art in the 60's and 70'sRedefining Reality, and Institutional Critique andAfter.

Kori NewkirkSenior LecturerMFA University of California, Irvine, BFASchool of the Art Institute of Chicago. Newkirk’sRecent solo exhibitions include the StudioMuseum in Harlem, the Museum ofContemporary Art, San Diego, Art Gallery ofOntario, Toronto and the Museum ofContemporary Art, Cleveland.roup exhibitionsinclude “Alien Nation,” ICA London, Dak’Art,7th Edition of the Biennale of ContemporaryAfrican Art, “Dakar”; the Whitney Biennial: “Dayfor Night,” Whitney Museum of American Art,and the California Biennial, Orange CountyMuseum of Art, Newport Beach

Renee PetropoulosAssociate ProfessorMFA (Studio Art), BFA (Art History) Universityof California, Los Angeles. Nationally andinternationally exhibited artist. Recent exhibitionsat Museum of Modern Art in San Salvador, ElSalvador. Currently working on several projects tobe located in the public arena, as well as acollaborative project in Oaxaca, Mexico. Grantsinclude Durfee Foundation Fellowship and aCOLA Individual Artist Grant. Represented by theRosamund Felsen Gallery in Santa Monica.

Benjamin WeissmanSenior LecturerBFA California Institute of the Arts. Exhibitednationally and internationally including theChristopher Grimes Gallery, Santa Monica,Galerie Krinzinger, Vienna and the ICA inLondon. Publications include two books of shortstories and has contributed numerous reviews andarticles to magazines and journals such asArtforum, Parkett and Frieze.

Graduate Fine Arts

DepartmentGoals

154

The Graduate Writing Program guides the developingtalents of advanced students in the complex practice ofwriting as a verbal art. Students in Graduate Writing will...

Graduate Writing

• Produce the most compelling work offiction, poetry, or creative non-fiction atthis stage of their career.

• Make their way in a profession thatinvolves teaching or other institutionalaffiliations.

• Locate their own writing and that of theircontemporaries within an internationalarena of 20th century world literatures.

• Focus on practical critical issues withinthe student's work vital to his or herpractice.

• Demystify their perception of theprofessional world of writing andliterature.

DegreeRequirements

155

Graduate Writing


WRIT600/601 Prose/Poetry Workshop I/II 4.0 4.0

WRIT750 Literary Seminar 3.0 6.0

WRIT640 Translation Seminar 3.0 –—

WRIT789 Visiting Writers Lectures 2.0 2.0

WRIT 760 Publishing Practices (optional year-long course)



WRIT700/701 Prose/Poetry Workshop III/IV 4.0 4.0

WRIT750 Literary Seminar 6.0 6.0

WRIT789 Visiting Writers Lectures 2.0 2.0

WRIT 760 Publishing Practices (optional year-long course)


Third Year Fall

WRIT790 Thesis 4.0

Total Credits per Semester 4.0

CourseDescriptions

156

Prose/Poetry Workshop I/II/III/IV WRIT600/601/700/701 4 credits/4 credits (first year) 4 credits/4 credits (second year)A two-year workshop sequence in the student'sarea of emphasis, i.e. fiction, poetry, non-fiction.Also, as part of the course, the student may meetwith the program director and other graduatefaculty during the semester.

Translation SeminarWRIT640 3 creditsThis course is a study of literary translation and itsradical impact on English-language poetry andfiction. Poetry or fiction translation is an optionfor the critical essay in this course. Students, ineither case, acquire first-hand knowledge ofliterary traditions outside that of Anglo-Americanliterature.

Literary Seminar I/II/III/IV WRIT750 3 credits /6 credits (first year)6 credits/6 credits (second year) These in-depth seminars focus on particularissues or currents in contemporary fiction andpoetry, with topics selected from variousinternational literary traditions (e.g., "Poetry’sPublic" or "The Ethics of Fiction")or monographiccourses on such figures as Gertrude Stein, William Faulkner, Ezra Pound, James Joyce, orEudora Welty.

Publishing PracticesWRIT760 3 creditsAn optional year-long course directed toward thecontemporary world of publishing, as well asworking on our writing program's literary tabloid,OR, the Otis Books/Seismicity Editions imprint.

Visiting Writers SeriesWRIT 789 2 credit/2 creditA bi-weekly lecture series featuring visiting poets, fiction writers and essayists from the U.S.and abroad who read and discuss their own work and aspects of contemporary literary culture. A question and answer period follows each talk.

Thesis WRIT790 4 creditsA publishable, book-length work of fiction, poetryor creative non-fiction is supervised by thedepartment chair or faculty. The completed workis submitted to a faculty committee of thestudent's choosing for final approval.

Graduate Writing

DepartmentFaculty

157

Graduate Writing

Paul VangelistiChair MA, ABD, USC; BA, Univ. of San Francisco. Authorof more than twenty books of poetry. Translator, journa-list, and former Cultural Affairs Director at KPFK Radio.NEA Translator Fellow and NEA Poetry Fellow.

Guy BennettProfessorPhD, BA (French) UCLA. Author of four books ofpoetry, most recently Drive to Cluster (2003).Noted translator from French.

Brian BlanchfieldSenior LecturerMFA, Warren Wilson Coll.; BA, Univ. of NorthCarolina, Chapel Hill. Author of Not Even Then(2004), published by the UC Press in the NewCalifornia Poetry Series. Poet and critic.

Peter GadolAssociate ProfessorAB Harvard Coll. Author of five novels, most recentlySilver Lake (2009), The Long Rain (1997) and Lightat Dusk (2000). Work has been translated into severallanguages.

Lewis MacAdamsSenior LecturerMFA Univ. of Iowa; BA Princeton. Author of ten books of poetry, including The River (2005).Engaged in current Los Angeles scene through astrong interest in social and environmental issues.

Douglas MesserliSenior LecturerMA, PhD Univ. of Maryland; BA Univ. of Wisc.Writer of fiction, poetry, and drama, as well as editorof Sun & Moon Press, now Green Integer Books, oneof the country's foremost publishers of new writing.

Dennis PhillipsSenior LecturerBFA, Cal Arts. Former director of the BeyondBaroque Literary Center, Venice. Author of numerousbooks of poetry, including Sand (2002) and Credence(1996). His poetry forces the reevaluation ofcontemporary genres and aesthetics.

Martha RonkSenior LecturerPhD Yale Univ.; BA Wellesley Coll. Shakespearescholar and author of numerous poetry collections, mostrecently In a Landscape of Having to Repeat (2004,PEN USA award in poetry), and Why/Why Not (2003).

Benjamin WeismanSenior LecturerBFA Cal Arts. Writer and visual artist, author oftwo collections of short fiction, Headless andDear Dead Person. Solo shows of his art in theU.S. and abroad. Hosts “New American WritingSeries” at UCLA Hammer Museum.

Jen HoferSenior LecturerB.A. Brown University. MFA, Iowa University . Poetand translator Jen Hofer’s recent publications includesexoPUROsexoVELOZ and Septiembre, a bilingualedition of books two and three of the lifelong projectDolores Dorantes by Dolores Dorantes, lip wolf, atranslation of Laura Solórzano’s lobo de labio, Sinpuertas visibles: An Anthology of ContemporaryPoetry by Mexican Women, slide rule, and the chapbookslaws and lawless. Forthcoming are The Route, anepistolary and poetic collaboration with Patrick Durgin,Laws from Dusie Books, and a book-length series ofanti-war-manifesto poems from Palm Press titled one.

Ben Ehrenreich Senior LecturerStudied religion at Brown University . His articles andessays have been published in L.A. Weekly, the VillageVoice, The Believer, the Los Angeles Times, and theNew York Times. His fiction has appeared in Bomb,McSweeney's, Black Clock, Swink, and elsewhere. Hiswork has been reprinted in anthologies including TheBest American Nonrequired Reading 2004, The BelieverBook of Writers Talking to Writers, and Notes fromUnderground: The Most Outrageous Stories from theAlternative Press. The Suitors, was published in 2006 byCounterpoint Press.

DepartmentGoals

158

The Graduate Program in Public Practice explores new artistic practices based on observation, research,commentary and activism in the public realm.

Graduate Public Practice

• Design and execute an art-based publicproject with professional-levelcraftsmanship and aesthetic quality.

• Translate this project for further telling,as an exhibition, website or other.

• Demonstrate an on-going perspective ofcritical inquiry, including ability to framequestions and devise methodologies foranswering them.

• Demonstrate successful communicationwith and ability to receive feedback fromcollaborators and communities in whichthey work.

• Explore, in writing, aspects of publicpractice that are important to their work,to the field and to the visual arts ingeneral.

DegreeRequirements

159



PUBP600/601 Production Studio I/II 6.0 6.0

AHCS580 History of Public Strategies in Art 3.0 ----

LIBS654 Public Realm Seminar ---- 2.0

PUBP620/621 Case Studies I/II 3.0 3.0

PUBP650 Field Methodologies for Artists ---- 2.0


Total credits per semester 15.0 15.0


PUBP700/701 Production Studio III/IV 6.0 5.0

PUBP770 Thesis Review ---- 1.0

LIBS655 Public Realm Seminar II 2.0 ----

LIBS784/785 Thesis I/II 3.0 3.0

PUBP790 Field Internship 2.0 ----

PUBP792 Pedagogy Practicum ---- 2.0



CourseDescriptions

160

Because of the field-based and professional natureof this program, it might, at times, appear moredemanding than other graduate programs,including being required to work longer hoursthan those designated by the assigned course timesand to extend my work outside of the traditional15-week semester.

History of Public Strategies in ArtAHCS 580 3 creditsWeekly seminar with lectures and readings tracingthe history of public practices in art from 1930 totoday, with a focus on public art, installation,contemporary research in art, and current trends.Students will be expected to identify definitionsand arguments on challenging themes, such asglobalism, ethics, community-based initiatives, etc.

Public Realm Seminar LIBS654/655 2 creditsTheory perspectives on working in public, topicsin art criticism, interdisciplinary topics regardingart/anthropology, civic policy, urbanism, etc.These are a changing set of topics determined byinterest and relevance to their critical repertoire.

Thesis ILIBS 784 3 creditsA two-semester writing project that situates thestudent's final art project within contemporarycriticism in a publishable text Students will builda Case Study using their own work, exploring theapplicable modes of perception and assessmentaccording to critical paradigms. In the firstsemester, students will focus on defining anddocumenting their project, doing research onrelated artists works or theories, and identifyingcritical themes, areas for investigation. An outlineand a first draft will be expected by the end of thefirst semester.

Thesis IILIBS 785 3 creditsIn the second semester students will focus onrefining their positions, redrafts and final edits. Bythe end of the term students will complete theirthesis of 25 pages. It will include current andhistorical references, a case study of each student'sproject, and a critical analysis that includesmultiple kinds of data. The intervention of thiswritten capstone project is to provide evidencethat the student is able to articulate his/herintentions in the context of contemporary artpractices.

Production Studio I: The Process ofProductionPUBP600 6 creditsThis series of four studios over two years formsthe core of the MFA Public Practice program andis where the student’s Final Project is created.The first semester begins with a collaborativeproject under the supervision of a visiting artistand includes collaboration, formation ofcommunity relationships, critique, production, anda final presentation. Skills workshops in subjectslike video or model production are determinedbased on the nature of the project.

Production Studio II: Research and DesignPUBP601 6 creditsThis series of four studios over two years formsthe core of the MFA Public Practice program andis where the student’s Final Project is created. Inthe second Production Studio, students willdetermine a topic and location, do research, findpartners, and design their project individually orin collaboration with other students.

Case Studies I: Overview of the FieldPUBP620 3 creditsFocusing on specific examples from publicpractices, this course features an overview ofcollaborative and public practices based on eithergeographic location (in Los Angeles or elsewhere)or on relevant topics, such as eco-art orcommunity-based art, with an understanding ofhow these works fit into various professional artscenes.


CourseDescriptions

161


Case Studies II: Focused ApproachPUBP621 3 creditsFocusing on one or two specific examples frompublic practices, this course features in-depthanalysis of significant works from the field,deconstructing both practice and theory, withaccompanying readings and writing required. Thedevelopment of an individual model (Case Study)of one’s work sets the stage for the Thesis coursesin the following year.

Field Methodologies for ArtistsPUBP650 2 creditsSeminar on research and other career/professionalmethodologies for artists. This seminar willfeature discussions, readings, presentations byvisitors and field trips. This is a companioncourse to Production Studio II.

Production Studio III: Implement andCritique PUBP700 6 creditsThis series of four studios over two years formsthe core of the MFA Public Practice program andis where the student’s Final Project is created. Inthe second year we expect intensive, phasedproduction on a project of student’s interest. In thethird Production Studio, students will implementtheir plan and begin a critique process within theircommunity. During this semester individual studiovisits will focus on production critique.

Production Studio IV: Translations PUBP701 6 creditsThis concludes the studio portion of the MFAPublic Practice program. In the final ProductionStudio, students will seek community critique andwill design and implement a "translation" of theirproject in a final exhibition.

Thesis ReviewPUBP770 1 creditOver the course of the final semester studentsmust pass periodic reviews by faculty, guest artistsand a final critique that encompasses a review ofall their work.

Field Internship PresentationPUBP790 2 creditsOver the course of their study at Otis, studentswill select an internship with a professional artistworking in public practice. This seminar providesan opportunity to reflect on learning and sharewith other students through presentations.

Pedagogy PracticumPUBP792 2 creditsExperience in teaching is required, before orduring the Program. Students are offeredopportunities to assist teach in Otis' undergraduateand other programs. In this seminar, studentsreflect on the relationship between teaching,public pedagogy, and their own practices. Thisrequirement takes the form of a three session"insert" into the Production Studio IV course.

Studio ElectivesStudio production electives are determined inconsultation with the Chair in order to buildspecific skills for the student's final project. These skills might include: photography, video,installation, landscape design, computer webdesign, etc. These courses (a minimum of 11units overall) will be available each semester andwill be sited in appropriate design or fine artsproduction labs. A student is expected to create acomprehensive skills learning plan with aconvincing rationale, rather than make ad hocskills course selections.

DepartmentFaculty

162

Note: All faculty do not teach every semester.

Suzanne LacyChairMFA Cal Arts; BA UC Santa BarbaraInternationally exhibited artist known forcontributions in feminist, performance, public art.Co-founder Visual Public Arts Institute at CSUMonterey, author Mapping the Terrain: New GenrePublic Art. As artist, educator, social activist, andwriter, her work over the course of the last 30 years has focused on taking art out of the galleryand into the world to engage new audiences andgalvanize a public discussion about race, poverty,and social justice.

S.A. Bachman Senior LecturerMFA Tyler School of Art, BFA Ariz. St. Univ.Public artist and co-founder of THINK AGAIN,an artist-activist collaborative that expectssomething political from art and uses images tochallenge indifference. Their interventions,billboards, postcards, and public projections seekto dissolve the boundary between critique andaction while prompting the political imagination.THINK AGAIN recruits art-making in the serviceof public address and interrogates social issuesincluding: economic injustice, gentrification anddisplacement; immigration “reform” and thecriminalization of undocumented workers; queerrights and sexual liberation; the logic ofmilitarization, and the ongoing social problems ofHIV/AIDS and violence against women.

Andrea BowersSenior LecturerMFA Cal Arts; BFA Bowling Green State Univ.Andrea Bowers has an MFA from CalArts and livesand works in Los Angeles. Recent solo showsinclude "Sanctuary" at Van Horn, Düsseldorf; “TheWeight of Relevance” at ZKM/Zentrum für Kunstund Medientechnologie, Karlsruhe, The PowerPlant, Toronto, the Secession, Vienna and SusanneVielmetter Los Angeles Projects; “Vows” at Hallefür Kunst, Lüneburg, and “Nothing Is Neutral” atREDCAT, Los Angeles and Artpace, San Antonio.Recent group shows include the 2008 CaliforniaBiennial at the Orange County Museum of Art,Proyecto Civico at The Centro Cultural Tijuana(CECUT), Progress at the Whitney Museum ofAmerican Art, Index: Conceptualism in Californiafrom the Permanent Collection at the Museum ofContemporary Art, Los Angeles and the L.A.Anarchist Book Fair. Bowers is represented bySusanne Vielmetter Los Angeles Projects, MehdiChouakri in Berlin, Galerie Praz-Delavallade inParis, and Van Horn in Düsseldorf. Bowers iscurrently a Visiting Artist at the California Instituteof the Arts (Cal Arts).

Abdelali DahrouchSenior Lecturer MFA Pratt Institute; BA SUNY CortlandStudioFellow, Whitney Independent Study Program;Cultural Exchange Station, Tabor CZ; theMetamedia Center for the Arts, Plasy CZ; AshkalAlwan, The Society of Plastic Arts, Beirut,Lebanon. Group and solo exhibitions in L.A.,Berkeley, Portland, New York, Grinnell, (IO),Athens (GA), Dearborn (MI), and internationallyin Belgium, France, Spain, Czech Republic,Bulgaria, and Jordan. Featured in Fall 2008Gwangju Biennale in South Korea. Publications inThird Text.


163


Dana DuffProfessorMFA Cal Arts; BFA Cranbrook Academy of Art.Exhibited at Whitney Museum, New Museum andgalleries in N.Y. and L.A. Films shown atInternaional Film Festival Rotterdam and Biennalede l'Image en Mouvement, Geneva. Residencies atAmerican Academy, Rome; Pont-Aven, Paris, andNice, France; Mexico City. Lives and works in L.A.and Mexico.

Kate JohnsonJohnson's collaborative work has been seen in avariety of venues from the Cannes Film Festival,Museum of Modern Art in New York and theInstitute of Contemporary Art in London, TheArmand Hammer, Los Angeles Theatre Center, TheLuckman Gallery, International Dance FilmFestival, Istanbul, Columbia College of Chicago,Highways Performance Space, The HistoryChannel, Channel 5 in France, the SIGGRAPH andDV Expo conferences, and in theatres and publicspaces internationally. She is currently co-directinga feature documentary that is an NEA grant awardrecipient.

Annetta KaponAssociate ProfessorMFA UCLA; MA Univ of London; BA AristotleUniversity, Thessaloniki; BFA Otis. Workexhibited in the 2004 Biennale, Sydney; ShoshanaWayne Gallery, LACE, and Exit Art. Recipient ofa Pollock-Krasner Foundation Grant, CaliforniaCommunity Foundation Fellowship, and aFundacion Valpariso residency.

Bill Kelley Jr.MA Univ. of N.M. Ph.D Candidate UCSD.Educator, independent writer, curator, and criticbased in Los Angeles. Former director and currentEditorial Advisor of the journal LatinArt.com. HisMaser's degree is in 19th c colonial studies, andhis PhD in progress is in contemporary theory andcriticism. His most recent projects includeProyecto Cívico: Diálogos y Interrogantes forCECUT (Tijuana, Mexico 2009) and Laboratoriode Arte y Espacio Social for Museo del BancoCentral (Quito, Ecuador 2008).

Sandra de la Loza MFA CSU Long Beach; BA UC BerkeleyLoza utilizes a variety of mediums such asphotography, sound, printmaking, video andinstallation to navigate ideas and spaces. She hascollaborated with other artists and activists togenerate artist-led spaces for practice and criticaldialogue. Such efforts have resulted in communitycenters, conferences, art events and discussiongroups including “Transitorio Público” (2007),“From the Barrel” (2006-2008), “the OctoberSurprise” (2004), and “Arts in Action” (2000-2004). She has received grants from the Center forCultural Innovation, the California CommunityFoundation, the Durfee Foundation and theDepartment of Cultural Affairs. Recent exhibitsinclude “Phantom Sightings: Art After theChicano Movement,” organized by the LosAngeles County Museum of Art, “Vexing: FemaleVoices from East LA Punk” at the ClaremontMuseum of Art, and Puerto Vallarta: ArteContemporaneo 2008.

Karen MossBA, MA. PhD, USC. Doctoral dissertation on"Fluxus and Intermedia in California." As an arthistorian, curator and educator, has worked inmuseum curatorial and education positions.Currently Curator of Collections and Director ofEducation and Public Programs with the OrangeCounty Museum of Art. Other experience includesSFAI, Walker Art Center, Santa Monica Museumof Art, MOCA, and Santa Barbara Museum of Art.

DepartmentFaculty

DepartmentFaculty

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Renee PetropoulosAssociate ProfessorBA, MA UCLA. Concentrations include Islamicart, video, and photography. Exhibited widely inU.S. and abroad. Public site commissions andcollaborations with Daniel Martinez, Leslie Dick,and Benjamin Weissman. Exhibitions include SanFrancisco Jewish Museum, Blaffer Museum,Houston; ICA, London; Museum of Modern Art(MARTE), El Salvador; and Berkeley Art Museum.Current projects in Berlin, L.A. and Oaxaca,Mexico. Grants from J. Paul Getty, DurfeeFoundation, Art Matters, and COLA. Since 2003,part of Society for the Activiation of Social Spacesthrough Art and Sound (SASSAS).

Katie PhillipsChair, Foundation MFA Claremont Grad School, BFA Univ ofIllinois. Chair, Otis Foundation Dept. Widelyexhibited artist. Illinois, Urbana. Chair, OtisFoundation Dept. Widely exhibited artist.Exhibitions include Art Museum of South Texas;Frye Museum, Seattle, WA; Spokane ArtMuseum; J.B. Speed Museum, Louisville, KY.Works reviewed in Art News. Collection of theJ.B. Speed Art Museum. Published in Images andIssues and Leaves of Many Seasons (PlenumPress).

Consuelo VelascoLecturerMA USC; BA UC Santa CruzVelasco has an undergraduate degree art with anemphasis on mixed media, murals and small presspublications. Master's degree in Public Art Studiesfocused on arts administration, digital media andart in rural contexts. Velasco was previouslyemployed by the Los Angeles CountyMetropolitan Transportation Authority, Metro Artwhere she was extensively involved in the publicart component of the Expo Light Rail line and ispresently the manager of the MFA Public Practiceprogram.

Claude WilleyBA Columbia College, Chicago. MFA Studio ArtUCI. Co-coordinator of MOISTURE, a multi-yearwater research project in the Mojave Desert.Merged ecology, environmental history,renewable-energy technologies, and urbantransportation/landscape history.


DepartmentGoals

166

The Graduate Program in Graphic Design will provide a highlycompetitive academic environment for candidates interested incombining current practices with pursuing a master’s degree ingraphic design. This program has three individual themes fromwhich to study: typography and type design, social responsibility of the artist in society, and advancing the discipline through theoryand innovation.

Graduate Graphic Design

• Describe a trajectory of past and currentdesign projects that inform his/her practice.

• Conceive, design and execute asuccessful body of work that advances thecandidate's practice and reflects currenttrends in the disciplines.

• Demonstrate the ability to framequestions, devise appropriatemethodologies for answering them, andevidence an on-going perspective ofcritical inquiry.

• Successfully communicate the goals oftheir thesis and their relationship to thecandidate's future practice.

• Demonstrate an awareness of theimportance of design pedagogy to thepractice of contemporary graphic design.

• Propose and implement furtherdocumentation, representation orexpressions of the candidate's final project.

• Demonstrate creativity and the power of effective communication through their work.

• Explore in writing aspects of graphicdesign that are important to the field andvisual arts in general.

DegreeRequirements

167

Graduate Graphic Design (Primary)

First Year Summer Spring

GRDS 500 Seminar I 6.0 ----

AHCS 576 History + Theory: Cont Theories in Design 3.0 ----

GRDS 620 Studio Topics Typography and Type Design 2.0 ----

GRDS 630 Studio Topics: Soc Responsibility of the Designer 2.0 ----

GRDS 640 Studio Topics: Advancing the Discipline 2.0 ----

GRDS 799 Directed Studies ---- 7.5

Total credits per semester 15.0 7.5

Second Year Summer Spring

GRDS 600 Seminar II 6.0 ------

GRDS 650 Visiting Artists Critique 2.0 ------

AHCS 577 History of Graphic Design & Vis Culture 3.0 ------

*GRDS 621 Studio Topics Typography and Type Design 2.0 -----

*GRDS 631 Studio Topics: Soc Responsibility of the Designer 2.0 -----

*GRDS 641 Studio Topics: Advancing the Discipline -----

GRDS 799 Directed Studies ----- 7.5

*Students must choose two of these courses

Total credits per semester 15 7.5

Third Year Summer

GRDS 700 Seminar III 6.0

GRDS 790 Thesis/Final Project 4.0

AHCS 578 Special Topic in Design 3.0

**GRDS 622 Studio Topics Typography and Type Design 2.0

**GRDS 632 Studio Topics: Soc Responsibility of the Designer -----

**GRDS 642 Studio Topics: Advancing the Discipline -----

**Students must choose one of these courses

Total credits per semester 15

DegreeRequirements

168

Graduate Graphic Design (Alternate)

First Year Summer Spring

GRDS 500 Seminar I 6.0 -----

GRDS 620 Studio Topics Typography and Type Design 2.0 -----

GRDS 630 Studio Topics: Soc Responsibility of the Designer 2.0 -----

GRDS 640 Studio Topics: Advancing the Discipline 2.0 -----

GRDS 700 Seminar III ---- 3.0


AHCS 576 Hist + Theory: Cont Theories in Design 3.0 -----

Total credits per semester 15 12

Second Year Summer Spring

GRDS 600 Seminar II 6.0 ------

GRDS 650 Visiting Artists Critique 2.0 ------

*GRDS 621 Studio Topics: Typography and Type Design 2.0 -----

*GRDS 631 Studio Topics: Soc Responsibility of the Designer 2.0 -----

*GRDS 641 Studio Topics: Advancing the Discipline -----

GRDS 700 Seminar III ----- 3.0


AHCS 577 History of Graphic Design & Visual Culture ----- 3.0

*Students must choose two of these courses

Total credits per semester 12 12

Third Year Summer

GRDS 790 Thesis/Final Project 4.0

**GRDS 622 Studio Topics Typography and Type Design 2.0

**GRDS 632 Studio Topics: Soc Responsibility of the Designer -----

**GRDS 642 Studio Topics: Advancing the Discipline -----

AHCS 578 Special Topic in Design 3.0

**Students must choose one of these courses

Total credits per semester 9

DegreeRequirements

First Year Summer Fall Spring(off-site)

GRDS 500 Seminar I 6.0GRDS 620 Studio Topics: Type 2.0GRDS 630 Studio Topics: Soc. Res 2.0GRDS 640 Studio Topics: Advancing the Discipline 2.0GRDS 650 Visiting Artist Crit 2.0AHCS 576 Hist + Theory: Cont Theories in Design 3.0GRDS 799 Directed Studies 8.0 7.0GRDS 600 Seminar II 6.0AHCS 577 History of Graphic Design 3.0GRDS 622 Studio Topics: Type 2.0

____ ____ ____17.0 8.0 18.0

2nd Year Course Summer

GRDS 700 Seminar III 6.0GRDS 622 Studio Topics: Type 2.0GRDS 632 Studio Topics: Soc. Res. 2.0GRDS 642 Studio Topics: Advancing the Discipline 2.0GRDS 790 Thesis/Final Project 4.0AHCS 578 LAS: Special Topics Design 3.0

___17.0

*must be recommended by MFA portfolio committee

169

Graduate Graphic Design (Accelerated)

CourseDescriptions

170


Seminar I/II/IIIGRDS 500/600/700 6 creditsIn this three-term course sequence, all graduatestudents, work on project-specific assignments.Faculty and visiting artists provide the opportunityfor in-depth discussion, conceptual and formalinvestigation. The intention of this course is tofind focus and specialization in the program.

Typography and Type DesignGRDS 620/621/622 2 creditsThe projects assigned, use theory, methodology,and personal interests to expand student‚knowledge of typography and its role withingraphic design. Each section will host a visitingtype designer who will workshop with thestudents and establish the beginnings of designinga typeface.

Social Responsibility of the Designer inSociety GRDS 630/631/632 2 creditsThis course defines “social responsibility” as anuanced and contextual idea, one whose meaningis constantly evolving and whose manifestationsshift between cultures and generations. Specificproject topics and themes rotate by semester. Allprojects will involve an intensive researchcomponent that includes both informational andformal/visual research (collecting and making).

Advancing the Discipline through Theoryand InnovationGRDS 640/641/642 2 creditsStudents will cultivate personal workingmethodologies and develop and test themthroughout the course. Careful examinations ofcurrent/previous design vanguards with particularattention to the relationship between method andform. Students will produce a series of projectsand will be critiques throughout the semesters bypeers and faculty/guest faculty.

Visiting Artist Critique GRDS 650 2 creditsThis course offers one-on-one studio critiqueswith visiting artists. The focus is on the individualstudent’s practice. In-depth discussion with artistsand designers give students the opportunity tostrengthen their conceptual and aestheticdevelopment.

Directed Study: Writing Theory, Criticismfor Publication (Spring Semester)GRDS 799 3.5 - 9 creditsStudents produce academic texts related to designthat are historical, critical, and/or theoretical.Through mentorship, students will begin toestablish a body of work that can and shouldcontribute to contemporary design discourse.Communication via digital technologies,telephone, or face-to-face meetings all contributeto the mentorship process Publication material indigital or analog form is required.

Directed Study: Developing a Typeface(Spring Semester)GRDS 799 3.5 – 9 creditsStudents interested in designing typefaces, willwork closely with a type designer over the Springsession to create their own typeface. Research,thorough formal investigations, and conceptualdevelopment play a critical role. Students areencouraged to choose a mentor whose thinking,work ethic, and craft are inspirational and willundoubtedly shape their own practice.

MFA Final Project GRDS 790 4 creditsThis course focuses on assisting students as theyresearch, produce, and complete their thesisproject. Guided by faculty, classmates, andvisiting artists, all MFA candidates seek to solidifytheir place in the field of graphic design byinitiating a project that redirects, re-establishes,and challenges the practice as it is today.

History + Theory: Contemporary Theoriesin DesignAHCS 576 3 creditsA diversity of critical approaches to twentieth andtwenty-first century design are situated historicallywhile introducing current themes and debates incontemporary design practice and relateddisciplines.

171


History of Graphic Design and VisualCultureAHCS 577 3 credits The course is structured in three units: Reform andRevolution, focusing on the European avant-gardemovements; Consumption and Mass Culture,looking at design in America and postwar Europe;and Media and Messages, exploring visual literacyand design responsibility through a considerationof design authorship, citizenship, and leadership inthe postmodern world.

Special Topic in DesignAHCS 578 3 creditsVisiting Lecturers and Visiting Scholars who offer unique perspectives will be asked to designthis special topics course to meet the needs of the candidates who are in their final stages to the program.

Visual Language GRDS 660 2.0 creditsThis course is an advanced exploration of form-making and the relationship among image-makingmediums, narrative structures, and communication.A process-intensive course, all project deliverablesand outcomes areopen-ended. Formal explorationsare intended to expand possibilities for the finaloutcome of a graphic design project. The successof project outcomes is evaluated based on content-and context-specific criteria.(Open to undergraduates based on portfolio reviewor departmental consent)

CourseDescriptions

DepartmentFaculty

172

Kali NikitasChairMFA (Graphic Design) Cal Arts, BA Univ ofIllinois at Chicago. Designer, author, curator andeditor. Founder of the design firm, Graphic Designfor Love (&$). Fellow of the Design Institute ofMinneapolis; past Chair of the Department ofVisual Arts at Northeastern Univ. and MinneapolisCollege of Art and Design; faculty member at theSchool of the Art Institute of Chicago. Curatedtwo international design exhibitions and co-programmed the international symposia “Just theType” and “What Matters.” Her work has beenpublished in Emigre, Eye, I.D. and the AIGAJournal; and she has received awards from theACD, AIGA and the Type Directors [email protected]

Stuart BaileySenior LecturerUniversity of Reading, Werkplaats Typografie. Co-founder of the arts journal Dot Dot Dot with PeterBilak in 2000, which he continues to edit andpublish biannually. Since 2002, he has worked withWill Holder under the compound name Will Stuarton a broader range of projects, including theatre andperformance, most often under the title “Tourette's”.Since 2006, he has worked together with DavidReinfurt as Dexter Sinister, also the name of theirbasement space on New York’s lower east sidewhich operates as a “just-in-time workshop andoccasional bookstore”. The workshop intended tomodel a “Just-In-Time” economy of printproduction, running counter to the contemporaryassembly-line realities of large-scale publishing.Dexter Sinister have increasingly been involved inbroader gallery and museum projects, most recentlyat the Centre d'Art Contemporain in Geneva, the2008 Whitney Biennial, The Kitchen in New York,and Somerset House in London.

Juliette BellocqSenior LecturerOsborn Architects, Glendale, CA. MFA (GraphicDesign) CalArts; prior studies in design andtypography in Paris and the Netherlands. Art Directorat Osborn Architects. Published by the New YorkTimes, HOW Magazine International Design Awardsand the AIGA. Exhibited in Grown in California inSan Francisco and Pasadena.

Maja BlazejewskaSenior LecturerMFA Cal Arts, BA School of Visual Arts.Designer, LACMA. Clients include Sony Music,Ogilvy Brand Integration Group. Recognitionfrom AIGA, awards from Art Directors Club,Out:Put. Currently designer for Los AngelesCounty Museum of Art for publications,marketing materials, special exhibition graphicsand exhibitions’ visual identities. Recognized byAIGA and rewarded by Art Directors Club andOut:Put as well as published in Lino, Australianand New Zealand contemporary design lifestylemagazine. www.missblaze.com

Meg CranstonChair, Fine ArtsMFA Cal Arts, BA Kenyon Coll. Internationallyrecognized performance and installation artist.Solo shows at Dunedin Public Art Gallery, NewZealand; Rosamund Felsen Gallery, Santa Monica;Galerie Michael Kapinos, Berlin; VenetiaKapernekas Fine Art, N.Y.; Carnegie Museum ofArt, Pittsburgh. Recipient COLA IndividualArtist's Grant, Architectural Foundation ofAmerica Art in PublicPlaces Award, John SimonGuggenheim MemorialFoundation Fellowship.

Denise Gonzalez CrispSenior LecturerMFA (graphic design) Cal Arts, AssociateProfessor at the College of Design, North CarolinaState University, Graphic Design. Her work hasappeared in Russian KAK, Graphis, Émigré,Metropolis, Eye, Print, Step and I.D. magazines,ACD 100, Communicaion Arts and Graphis. Atopic she has dubbed the DecoRational constitutesher ongoing design research, as do frequent foraysinto "alternative design writing." Additionalcurrent projects include writing a textbook ontypography, serving on the editorial board of anew peer review journal Design Criticism, and co-chairing the next "Schools of Thoughts" educator'sconference held in Los Angeles. Projects for theCollege of Design include leading an effort toestablish a College of Design Print Lab/Press andserving on the CAM Advisory Board. Over thelast fifteen years, she has taught as adjunct facultyat Art Center College of Design, CaliforniaInstitute of the Arts, and Otis Art Institute.


173


Yasmin KhanAdjunct Associate ProfessorBA (Fine Art) UCLA; BFA (Graphic Design) ArtCenter; MFA (Graphic Design) Cal Arts. Partner,counterspace, an LA-based design studio focusedon design for cultural institutions and branding/identity in Web, broadcast, and print media.Recent clients: MOCA, the Orange CountyMuseum of Art, Imaginary Forces, ArthurMagazine, HarperCollins, REDCAT.

Aram MoshayediLecturerMA, Art History, University of SouthernCalifornia, current doctoral candidate in ArtHistory. He is curator at LA><ART in LosAngeles, Recent exhibitions at LA><ART includeWilliam Leavitt: Warp Engines, Vishal Jugdeo:Surplus Room, and Uri Nir: Mommy. In 2008, heserved as the assistant curator of the 2008California Biennial at the Orange County Museumof Art. He has also published widely, with recentcontributions appearing in Art in America, ArtLies, Reading Room: A Journal of Art andCulture, Art Papers, Bidoun, and Artforum.com.

Renee PetropoulosAssociate ProfessorMFA (Studio Art), BFA (Art History) UCLAShe has exhibited throughout the U.S and inter-nationally. In Los Angeles, she is represented byRosamund Felsen Gallery, Santa Monica. She hascompleted numerous national public site com-missions, and exhibited at the San Francisco JewishMuseum; Blaffer Museum; Occidental CollegeWeingart Gallery; and Galerie Krinzinger, Vienna.In 2004, she received a City of L.A. Artist Grant.

Kerri Steinberg Associate Professor Ph.D. (Art History) UCLA. Interests includevisual culture, graphic design history, theory,design citizenship, advertising, and AmericanJewish visual culture. Has been an invited speakerat symposia and conferences on topics rangingfrom graphic design education to the branding andpackaging of modern American Jewish identity.Publication record includes articles and reviewson visual culture and American Jewish self-representation. Currently working on a manuscriptprovisionally titled, Advertising the AmericanJewish Experience.

Davey Whitcraft Assistant ProfessorMFA UCLA, BFA CCA. Driven by a ‘do-it-yourself’ attitude, Davey’s approach to work haslargely been motivated by the sincerity of anartistic endeavor that seeks to maintain its ownspace. His ambitions with graphic design beganearly with the creation of a punk zine that spannedfive years and eight issues. In 2006 he establisheda design studio with Dutch designer, Willem HenriLucas. With the help of friends, Davey and Henribuilt their design studio in the backyard ofDavey’s Venice cottage. Today, in the corner ofthe Willem Augustus studio hangs the ‘workmanifesto’ that they created to represent theirintegrity and thoughtfulness not only as designersbut as humans living in the world. Davey andWillem Augustus have been recognized by AIGA:50 Best books 2006, Graphis, Art Directors ClubNYC, Print Magazine, SXSW Interactive, Altpick,Eisner American Museum of Advertising andDesign and EvoMUSART.www.willemaugustus.com

Invited Visiting Participants

Cornelia BlatterBFA Zurich’s Hochschule für Gestaltung undKunst, MFA Yale University (Painting). In 1996,she co-founded COMA with Marcel Hermans;since then, they have maintained studios inAmsterdam and New York. COMAconceptualizes, art directs, designs, and producesvarious work from print to the Internet toinstallations. COMA collaborations include thecreative direction and graphic design of Vitra’sWorkspirit 10; Frame magazine (FramePublishers); the Dutch post 2006 children’s stamp;the exhibition catalogue and font design forDesign Life Now, the Cooper Hewitt’s NationalDesign Triennial; and monographs for Dutchproduct designer Hella Jongerius (Phaidon Press),Sigmar Polke (MoMA), architects Greg Lynn andHani Rashid (NAi Publishers), and BernardTschumi (Architectural Biennial Venice). COMA’sfounders are also enthusiastic educators and giveworkshops internationally at institutions like theHochschule für Gestaltung (Karlsruhe, Germany),MCAD in Minneapolis, Yale University and theRhode Island School of Design.

DepartmentFaculty

DepartmentFaculty

174

Annelys de VetStudio Annelys de vet, Amsterdam. Educated atthe Utrecht School for the Arts and the SandbergInstitute, Amsterdam, she explores the role ofdesign in relation to the public and politicaldiscourse. Her work focuses on diverse mediasuch as print, CD-ROMs, internet, video, theatreand performances. Her clients vary fromperformances for artists, cultural institutions, andwriters.

Keetra DixonDesigner and artist working under the handleFromKeetra. Her socially-themed messaging,objects & installations have gained notoriety fortheir friendly absurdism and whimsical tone.Dixon's work has been recognized on severalfronts including a place in the permanent designcollection at the SFMOMA, works exhibited forthe '09 U.S. Presidential Inauguration, and anupcoming solo exhibit at London's KKOutlet.

Akiem HemlingUnderware The Hague. Type designer of fonts thatare often conventional in terms of legibility, yetfunctional. They aim for new visual, typographicand linguistic possibilities.

Marcel HermansRietveld Academy (Design), He co-foundedCOMA with Cornelia Blatter in 1996; since then,they have maintained studios in Amsterdam andNew York. COMA conceptualizes, art directs,designs, and produces various work from print tothe Internet to installations. COMA collaborationsinclude the creative direction and graphic designof Vitra’s Workspirit 10; Frame magazine (FramePublishers); the Dutch post 2006 children’s stamp;the exhibition catalogue and font design forDesign Life Now, the Cooper Hewitt’s NationalDesign Triennial; and monographs for Dutchproduct designer Hella Jongerius (Phaidon Press),Sigmar Polke (MoMA), architects Greg Lynn andHani Rashid (NAi Publishers), and BernardTschumi (Architectural Biennial Venice). COMA’sfounders are also enthusiastic educators and giveworkshops internationally at institutions like theHochschule für Gestaltung (Karlsruhe, Germany),MCAD in Minneapolis, Yale University and theRhode Island School of Design.

Karrie JacobsContributing editor at Metropolis magazine whereshe writes a monthly column, “America,” abouthow ideas and strategies in architecture and designplay out on the landscape, and is a regularcontributor to Travel + Leisure, where she writesabout destinations of interest to the architecturaltourist. She is author of The Perfect $100,000House: A Trip Across America and Back inPursuit of a Place to Call Home (Viking, 2006), abook about housing in America. Between 1999and 2002 Karrie was the founding editor in chiefof Dwell, a San Francisco-based magazine aboutmodern residential architecture and design. Priorto launching Dwell, Karrie served as thearchitecture critic of New York Magazine, and shehas written about design, technology, and visuallanguage for many periodicals including The NewYork Times, I.D. Magazine, and Fortune. And inthe early 1990s, Jacobs was the foundingexecutive editor of Benetton’s Colors Magazine.

Sophie KrierHer work field is situated in the periphery of thedesign profession and includes activities such asteaching, writing, collecting, editing,experimenting. Her work is process-oriented andalways attempts to investigate the space (forinnovation, playfulness, reflection) within a givenassignment. The work is therefore often describedas editorial. At the core of each concept is thewish to generate meaningful relationships betweenmessage, context, and receivers. Krier waspreviously head of the Design Lab department ofthe Rietveld Academie in Amsterdam, where shehad been teaching since 2002. From her personalstudio Sophie Krier designs exhibitions (e.g. theSimply Droog retrospective exhibition), writescolumns and essays (e.g. for the PremselaFoundation of Design) and studies social aspectsof the design profession through self-initiatedprojects such as Nuits Blanches (about contact)and 5050 (about collaboration).


DepartmentFaculty

175


Julie LaskyEditor-in-Chief, I.D. Magazine, New York. Widelypublished writer and critic, she has contributed toThe New York Times, Metropolis, Dwell,Architecture, Slate, Surface, The National Scholar,and NPR, and she is the author of two books:Borrowed Design: Use and Abuse of HistoricalForm (written with Steven Heller) and Some PeopleCan't Surf: The Graphic Design of Art Chantry.

Laurie Haycock Makela o-b-o-k, Stockholm. Internationally recognizedvoice at the intersection of graphic design anddigital media. Former Director of the designdepartment at the Walker Art Center, Minneapolis.Since moving to Stockholm, Haycock Makela hasdesigned installations, exhibitions, gardens and"experience design“ in an art context.

Randy NakamuraB.A. Reed College, M.F.A. CalArts. Formerly theDirector of Design for The Grateful Palate. Clientsinclude REDCAT, CalArts, Palabra, Curt Co.Media, and Small Press Distribution. His writinghas appeared in Emigre, Looking Closer, TaskNewsletter, Design Observer, and ARC.

Florian PfefferPartner of the design studio ‚jung und pfeffer‘with offices in Amsterdam and Bremen. He isprofessor for visual communication at theHochschule für Gestaltung in Karlsruhe, Germany.Pfeffer is a regular speaker at design conferencesin Germany, Italy, USA and Turkey and has taughtat universities in the USA, Germany and Lebanon.He writes and publishes essays about the role ofdesign in history and future society. Pfeffer is thecreator and the director of the :OUTPUTfoundation, as well as the editor, designer andauthor of the yearbook :OUTPUT.

Maki SuzukiGraphic designer who is a partner in the studio,Abake. The main interest of Abake in graphicdesign is the collaborative aspect it allows. Abakeworks with and for a wide range of clientsincluding singers, bands, artists, universities,architects, museums, furniture designers, fashiondesigners, film production companies, art trustsand magazines. They co-edit and design themagazine Sexymachinery, an architecturalproduction, and co-direct a clothing and recordlabel called Kitsune. Clients include TheCardigans, Maison Martin Margiela, Peter Jensen,Bookworks, and the British Council.

Erik SpiekermannSpiekermannPartners, Berlin. Typographer anddesigner, founder of FontShop. Co-author, StopStealing Sheep & Find Out How Type Works.http://www.spiekermann.com/mten/index.html

Daniel van der Velden Metahaven, Amsterdam. Graphic designer, writerand researcher. Graduated from the Willem deKooning Academie in Rotterdam. In 2005,founded Meta Haven: Design Research, focusingon visual identity and the political, assigning keyimportance to the role of conflict in relation to thedesign of institutions in the era of globalization.He has produced projects such as the SealandIdentity Project and House of People in Bucharest.A recent research project examines the EuropeanInternet search engine Quaero.

Pae White BA Scripps College, MFA Art Center. Artist anddesigner. Exhibitions include Galerie DanielBuchholtz, Cologne; Contemporary Art Gallery,Vancouver; and UCLA Hammer Museum.

Jan WilkerFounded karlssonwilker inc. with Hjalti Karlssonin 2000 in Manhattan. A book on their studio, tellmewhy, on their first 24 months in business,was published by Princeton Architectural Press in2003.

You areResponsible

176

Students have the responsibility to be aware of all of theregulations of the College. These regulations are listed inthe Student Handbook, which is available to all students.The following section of the Catalogue features:

College Policies

• Academic Policies

• Financial Policies

• General Campus Policies

• College History

Otis College of Art and Design has the right to apply and enforce any and all of the rules and regulationsset forth in this catalog, as well as any other rules and regulations of the College not set forth herein. The catalog and its contents, however, in no way serve as a binding contract between the student and theCollege. The information in this publication is subject to change at any time, for any reason, at theunilateral discretion of the College without prior notice to or approval of the student.

CollegePolicies

177

Academic Policies

Attendance PolicyConsistent attendance is critical to learning,growth, and academic success; therefore studentsare expected to attend all class meetings. Whilethe college recognizes there may be times whenstudents cannot attend, there are no "excused"absences. If students wish to make up work inexceptional circumstances such as death in thefamily, serious medical conditions, hospitalization,or observance of religious holidays, the studentmust provide to the department appropriatedocumentation, complete all assigned work,and/or meet additional attendance requirements asdetermined by the instructor.

Should a student's total absence in a class exceedtwo (one in the summer), or the equivalent to 15%of the semester course meeting hours theDepartment Chair should be informedimmediately. Three tardies are equal to oneabsence. Though exceptional circumstances willbe considered, absences of a longer duration,regardless of circumstances, may result in thestudent being unable to satisfactorily complete therequirements of a course, and necessitate coursewithdrawal or failure.

Instructors will notify students of their attendancerequirements as part of the course syllabus whichshould be distributed on the first day of class.Students must be present for all regularlyscheduled examinations and submit completedassignments when they are due unlessaccommodations are made in advance. If studentsfail to take examinations or to submit work ontime without a legitimate excuse they shouldexpect to receive reduced grades or lose credit forthe work not completed. With the approval of theProvost, students may be assessed additionalcharges when significant additional faculty or stafftime is required to assess make up assignments.

Academic MajorsOtis undergraduate students complete an academicmajor in one of the following departments:

• Architecture/Landscape/Interiors• Communication Arts (Graphic Design,

Illustration, or Advertising Design)• Digital Media

• Fashion Design• Fine Arts (Sculpture/New Genres,

Photography, or Painting)• Product Design• Toy Design

Undergraduate students must declare their majorduring the second semester of their Foundation(first) year. To assist in this process, "FoundationForward," a two half-day symposium introducesstudents to each of the degree programs. Studentsmay also visit studio departments to meet thechairperson, faculty members, and currentstudents, and to see examples of their work.

Graduate Students earn the MFA degree in one offour majors:Graduate Fine ArtsGraduate Graphic DesignGraduate Public PracticeGraduate Writing

Grading System

The grading system used for the BFA degree is:

A 4.0A- 3.7B+ 3.3B 3.0B- 2.7C+ 2.3C 2.0C- 1.7D 1.0F 0UW 0, Unofficial WithdrawalI IncompleteW Withdrawal without Penalty

The grading system for the MFA degree is:

P 3.0 or better, PassF Below 3.0, Fail

UW Unofficial WithdrawalI IncompleteIP In ProgressW Withdrawal without Penalty

Otis is on a semester system. Semester andcumulative GPAs are computed at the end of each

Note: Admission toFoundation does

not guaranteeadmission to a

particular major;therefore, students

should declare afirst- and second-

choice major.

Note: W gradeshave no effect on

the GPA (gradepoint average). UW

grades count as“F” and are

factored into theGPA.

CollegePolicies

178

semester by multiplying the number of creditsearned in each course by the numerical valuesassociated with those grades. This figure is thendivided by the total number of credits completed,including failed courses, if any. The semesterand/or cumulative GPA is used in determiningprobationary status, requirements for graduation,qualification for the Dean's List, and all mattersconcerning academic status. Credits transferredfrom another college are not included in thecumulative GPA at Otis.

Each Otis faculty member has the authority todetermine the grades that each student will receivefor work done under his or her instruction.Depending on the content of the class, grades mayinclude the following elements: attendance,participation, concept, technical facility,execution, papers, examinations, and individualprogress. Faculty members customarily discusstheir grading practices with students during thefirst class session.

The Office of Registration and Records mailsgrade reports to students at the end of eachsemester. These grades are are also made availableby accessing Otis Self-Service. If there is anoutstanding balance on a student's account, gradeswill be held until the account is paid in full.

Academic Standing

Dean's ListUndergraduate students carrying a load of 12 creditsor more and with a semester grade point average of3.5 or above will be placed on the Dean's List forthat semester. This distinction is noted on students'transcripts, and becomes a permanent part of theacademic record. There is no Dean's List for theGraduate program, as students are graded Pass/Fail.

Grades of IncompleteThe grade of "I” or "Incomplete" is issued tostudents only in cases of emergency such as seriousillness or accident (which require a doctor's note),or a death in the family. The student must be ingood standing at the time of the emergency, havingcompleted all but the final project, paper, etc.Incompletes require the prior approval of theappropriate department chair.

If granted, the student will have four weeks fromthe end of the semester in which to complete thecourse-work, at which time the student mustcomplete an Appeal for Grade Change form andsubmit the form to the department for instructorand department chair approval. The departmentthen submits the form to the Office of Registrationand Records to indicate the change of grade. Ifextenuating circumstances warrant specialconsideration, the student may be granted adeadline extension up to the end of the followingsemester. Such a deadline extension requires theapproval of the department chair.

If students meet these criteria, they should beinstructed to obtain an Incomplete Form from theOffice of Registration and Records. The form muststate the reason for the incomplete grade and thework that must be completed. Any requireddocumentation must be attached. Once the studenthas obtained the necessary signatures, the form is tobe returned to the instructor for submission.In cases where it is impossible for the student to obtainthe necessary signatures, the Incomplete Form maybe submitted by the faculty member in consultationwith the student and the department chair.

Probation and Academic Dismissal A BFA student is in good standing if he or shemaintains a term and/or cumulative GPA of 2.0. Ifa student's term and/or cumulative GPA fallsbelow 2.0, he or she will be placed on academicprobation. A student will be dismissed from thecollege if his/her cumulative GPA falls below 2.0for two consecutive semester.

An MFA student is considered in good standing ifhe or she receives a grade of “P” (Pass) in all ofhis or her courses each term. If a graduate studentreceives a grade of “F” during a term, he or shewill be placed on academic probation.

If placed on academic probation, the student willreceive notification in writing regarding his or heracademic standing from the Chair of the AcademicStanding Committee. First semester foundationstudents may be offered Grade Replacement (pleaserefer to the Grade Replacement Policy).

Additionally, any foundation student whose GPAearned in his/her first semester of attendance at

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Otis is below 1.5 will be dismissed withconditions to be satisfied for appeal, and ifsuccessful, will be offered grade replacement atthat time.

The College recognizes that there may be cases ofdismissal that require review and merit exception.If dismissed, a student may file a written appeal tothe Academic Standing Committee in care of theOffice of Registration and Records. Factors andsupporting documentation that may be consideredin an appeal may include but are not limited to:

• Poor academic performance that was the result of circumstances that have been demonstrably corrected or substantially addressed, and should no longer adversely influence the student's academic performance.

• Written documentation from a department representative/advisor arguing convincingly that the student has a strong probability of completing the degree program to which the student would be reinstated.

• Evidence in the academic record of an abilityto succeed academically and make timely progress toward completion of a degree program which may include past academic performance.

• A proposed schedule for completion of the degree and a plan to foster academic improvement.

• Evidence of support from other representatives of the college's support services in addition to, but not in lieu of, letters from departmental and college advisors. This may include evidence of aconfidential nature that the student would prefer not be divulged to the committee as a whole.

Upon receiving a written appeal, the committeewill invite eligible students to appear before theCommittee, as necessary. Students maysuccessfully appeal a dismissal only once, andexceptions to dismissal will be granted only rarely.If readmitted, the student will be placed onprobationary status with special requirements. Ifthe student does not meet all the requirements ofsuch continued enrollment, he or she will bedismissed from the College with no recourse.

First Semester Foundation GradeReplacement Policy

Foundation students who receive a grade of D, F,or UW in a course taken in their first semester offull-time study, may, with the approval of theDepartment Chair and the Provost, request toretake the course, preferably in the followingsemester, or before completing 48 credit hours.Although both the initial grade and the repeatedcourse grades will appear on the transcript, thesecond grade will replace the first whendetermining cumulative GPA, even if the secondgrade is lower.

Under this policy, students may repeat up to threecourses, yet may only repeat, or attempt to repeat,any given course, once. Students, however, maycontinue to repeat a course in order to fulfilldegree requirements, but the initial grade cannotbe replaced after the first attempt to repeat thecourse. Repeated course credits do not counttoward graduation, unless the initial gradereceived was an F or UW. Repeated grades are notincluded in Dean’s List or honors calculations.

The policy does not apply to courses where thegrade received was due to academic dishonesty.Students are expected to maintain full-time statusin the semester the course(s) are repeated in orderto receive federal financial aid as a full-timestudent. A student may not take a course atanother institution for the purpose of replacing agrade for a course at Otis.

Enrollment Catagories

Full-Time EnrollmentUndergraduate students register for between 12and 18 credits to maintain full-time status.Exceptions require special approval.

Graduate students register for between 9 and 18credits to maintain full-time status. Exceptionsrequire special approval.

Less Than Full-Time EnrollmentStudents enrolled at Otis must understand that theCollege does not permit part-time schedulesexcept in cases that are required by law (Americanswith Disabilities Act) or in special circumstances

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(documented illness, death in the family, etc).Students who believe their situation is a specialcircumstance must receive permission from theirstudio and liberal studies advisors. After receivingadvisor approval, students must have their part-time schedule approved by the Vice President forEnrollment Management.

International students must maintain full-timeenrollment. An exception can be made duringtheir final semester if the total credits that theyneed to complete their degree requirements is lessthan full-time enrollment. International studentsconsidering less than a full-time schedule mustreceive advisement from the Designated SchoolOfficial in the Office of Registration and Recordsas well as approval from their studio department,liberal studies and the Vice President forEnrollment Management.

Students on financial aid, including loans, seekingapproval for a part-time schedule must receiveadvisement from a financial aid counselor todetermine the effect of a less than full-timeenrollment upon their aid packages. Many formsof financial aid require full-time attendance on thepart of awarded students. Students who enroll inless than full-time enrollment will be charged theper credit tuition rate for each credit taken.

Taking More Than 18 CreditsStudents who wish to register for more than 18credits must submit a request form to their departmentchairs for approval prior to registering for the additional credits. The request form must also beapproved by the Director of Student Accounts. Thisrequest form is available from the Office of Registrationand Records. Students who take more than 18credits will be charged the per credit tuition rate foreach credit taken above 18.

Limited Non-Degree Seeking StatusThrough special approval of the Department Chairand the Senior Staff, students may petition forlimited, non-degree seeking status at either theundergraduate or graduate levels. Interested partiesfill out a Petition for Non-Degree Status, which isreviewed by the College. With the approval of theappropriate Department Chair(s) and Senior Staff,and having satisfied any prerequisites, a student

may be admitted on a limited, non-degree seekingbasis, on a space-available basis. Participation bythe non-degree status student may be contingentupon review of any material or documents deemednecessary by the Institution.

Students attending Otis College under Non-Degree Status are not eligible to enroll inIndependent Studies courses.

Enrollment with this status is limited to twosemesters, for a total of nine credit hours at eitherthe graduate or undergraduate level, orcombination thereof. Students are responsible forthe same per-hour tuition rate and fees asmatriculated students. Students enrolled with thisstatus are not eligible for financial aid, tuitionremission or any other form of tuition discount.

Class LevelUndergraduate class level for registration purposes is determined by the number of credits completedand is determined as follows:

Level Min Credits Max Credits

Seniors 96 130

Juniors 63 95

Sophomores 30 62

Foundation 0 29

CommencementCommencement takes place once a year at the endof the spring semester. In order to participate inthe Commencement ceremony, undergraduatestudents must have a minimum cumulative GPA of2.0 at the end of the previous fall semester, as wellas a minimum GPA of 2.0 in the major.

An undergraduate student whose cumulative gradepoint average is 3.5 or above is eligible forgraduation with honors. This distinction is notedin the Commencement program, on the officialtranscript and the diploma.

In addition, all students who wish to participate inCommencement must have all accounts current and ingood standing with the college. Any account holdsfrom any department will prevent a student fromparticipating in Commencement.

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Participation in Commencement

Bachelor of Fine Arts (BFA) CandidatesTo participate in the Commencement ceremony,undergraduate students must meet all previouslystated GPA requirements and complete all degreerequirements by the end of spring term. Studentsmissing up to a maximum of six credits towardtheir degree who wish to participate in Commence-ment must submit an Application for Inclusion inCommencement to the Registrar as follows:

• Students must demonstrate that the missingcredits (maximum of 6) can and will becompleted no later than December 31st of theCommencement year.

• Students must state specifically how andwhere the course work will be completed.

• The application will be treated as a contractand requires the signatures of the petitioning student, as well as the Registrar and the Chairsof Liberal Arts and Sciences and/or the major studio department. Only students with signed and approved plans will be allowed to participate in Commencement.

Master of Fine Arts (MFA) CandidatesTo participate in the Commencement ceremonygraduate students in Fine Arts, Graphic Designand Public Practice must successfully complete alldegree requirements by the end of the spring term.Graduate students in Writing may participate inthe Commencement ceremony if they havesuccessfully completed all course work except the4 credit thesis course.

Degree Requirements

Graduation RequirementsIn order to graduate from Otis, a final degree auditmust be done to determine that all courserequirements for the major and the minimum gradepoint average requirements have been met. A BFAstudent must have completed a minimum of 130degree applicable credits, have a minimum overallcumulative grade point average of 2.0 and alsohave a minimum grade point average of 2.0 in themajor. MFA students must successfully completeall required coursework for their program with agrade of "P." Students anticipating graduation must

complete a Petition for Graduation available in theOffice of Registration and Records.

All graduating students will have their accountscurrent with the Student Accounts Office. Inaddition, graduating students who have receivedgrants, loans, or other aid must schedule an exitinterview with the Financial Aid Office.

Official diplomas are mailed within six months tograduated students, after verification of successfulcompletion of degree requirements, and after allaccounts have been cleared. Students must keep theOffice of Registration and Records informed oftheir current contact information to ensure thatdiplomas are mailed to the correct address.

BFA program students must complete all degreerequirements within a period of 10 years fromtheir first date of registration. MFA students mustcomplete all degree requirements within a periodof 5 years from their first date of registration.Students who fail to complete all degreerequirements by the stipulated deadlines will berequired to complete the current curriculumrequirements that are in place which may requireadditional coursework.

Credit RequirementsThe BFA degree requires completion of 130 totalcredits for all departments. This number includes atotal minimum of 45 Liberal Arts and Sciences units.Please check department listings for actual creditdistribution requirements.

The MFA degree in Fine Arts, Graphic Design andPublic Practice requires completion of 60 credits. theMFA degree in Writing requires completion of 52credits. Please check department listings for actualcredit distribution.

Award of Posthumous DegreesThe College wishes to extend sympathy to thefamilies, peers and faculty of students who pass awaynear the completion of their degrees, recognize theacademic achievement of students who would havefulfilled their degree requirements, and balanceacademic and institutional integrity

A posthumous degree may be awarded to a deceasedundergraduate student who was within 18 credit

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hours of the completion of the requirements forgraduation or to a deceased graduate student whowas within 12 credit hours of the completion of therequirements for graduation. The student must havebeen enrolled during the two regular semestersprevious to his or her death. The College'scumulative and semester academic good standingrequirements must be met.

The appropriate degree may be awarded post-humously on the recommendation of the DepartmentChair with the approval of the Provost. If approved,the Provost Office will notify the immediate familyof the awarding of the posthumous degree.

A diploma will be issued and the degree will beposted on the transcript. The transcript will show anotation that the degree was awarded posthumously.

Definition of Studio and Lecture CreditOne studio credit represents an average of threehours of work each week; the semester is 15weeks. In lecture and seminar courses, one creditrepresents one hour each week in class and twohours of work outside class during a semester.

Transfer Credits

Transfer Credits Granted for CoursesTaken Prior to Admission

In reviewing an application for admission to Otis,the Admissions Office will assess all previouscollege transcripts* for transferability of priorcredit and will send a Transfer Evaluation to theapplicant. Every applicant will have previouscollege credits assessed for applicability towardgeneral Liberal Arts and Sciences requirements.In addition, students accepted at the sophomorelevel will receive up to 18 transfer credits appliedto Foundation Studio requirements. Studentsaccepted at the junior level may receive up to acombined total of 68 credits toward Studio andLiberal Arts and Sciences requirements.

In order to be eligible for transfer, courses taken atother institutions must be similar in contact hours,content, purpose and standards to Otis courses.The student must have received a grade of “C” orbetter for the transfer credit to be accepted at Otis.

Transfer credit will be accepted fromappropriately accredited institutions in the U. S. orfrom international colleges of comparable status.If the student believes that there are additionalcredits that should be considered for transfer, thestudent must complete a Request for CourseApproval form for each course and have theform(s) approved by the Department Chair and theRegistrar prior to the beginning of their junioryear.

Junior transfer students have up to the fourth weekof their first semester of classes to requestconsideration of transfer credits in addition tothose accepted by the Admissions Office.

No additional credit will be accepted forcoursework completed prior to matriculation toOtis after these deadlines have passed, except inthe case of an approved change in major.

*Please note: failure to provide all transcripts ofprevious college coursework at the time ofapplication is a Student Code of Conduct violationand may result in disciplinary action.

Transfer Credits Granted for CoursesTaken After Matriculation to OtisA current Otis student who wishes to take a classat another college must submit a Course ApprovalForm signed by appropriate department chair tothe Registration Office. The Registrar will reviewthe request and verify that the course istransferable. Courses taken at other institutionsmust be similar in contact hours, content, purposeand standards to Otis courses. The student mustreceive a grade of “C” or better for the transfercredit to be accepted. Transfer credit will beaccepted only from regionally accreditedinstitutions in the U. S. or from internationalcolleges of comparable status.

Students must have the Request for CourseApproval completed prior to enrolling in a courseat another institution. Students who neglect tohave courses approved prior to enrollment riskhaving the course denied for transfer credit.

Transfer Credit Assessment Upon Changeof MajorStudents who wish to change majors must obtain aChange of Major Form from the Registration

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Office. Students must also request an interofficetranscript. Twenty-four hours notice is required. Ifstudents wish to have credits from prior collegesreconsidered for transfer credit, they must requestcopies of these transcripts to be included as well.

Students make an appointment for an entranceinterview with the department to which they wishto transfer.

When the new department receives the inter officetranscripts, they will be assessed and appropriatecourse credits will be applied to the degreerequirements for the new major. The Chair of thenew department will sign the Inter DepartmentalTransfer Form and will forward it to the LiberalArts and Sciences Office for review. Onceapproved by the Provost, the completed form willbe returned to the Registration Office.

Change of Major forms must be completed andapproved by the last day to add a class, as shownon the academic calendar.

Please note: Major changes may result in the lossof some credits taken for the previous major.Students may be asked to make up requiredclasses that did not transfer. Students areresponsible for completion of all degreerequirements for the new major. The College isnot responsible for any additional fees or delay ingraduation resulting from changes in major.

Total Number of Transfer Credits andResidency RequirementsOtis has a minimum undergraduate residencyrequirement for graduation of 62 credits; thereforeundergraduate students may transfer in amaximum of 68 credits from other institutions.Graduate programs in Fine Arts, Graphic Designand Public Practice have a minimum residencyrequirement for graduation of 45 credits; thereforestudents in these graduate majors may transfer in amaximum of 15 credits. The Graduate Writingprogram has a residency requirement forgraduation of 40 credits; therefore students in thismajor have a maximum of 12 transfer credits.

Registration Policies

Adding, Dropping Or Withdrawing FromCoursesStudents may add, drop or withdraw from acourse by:

• Consulting the academic calendar for add,drop and withdrawal deadlines.

• Completing an Add/Drop or WithdrawalForm, available in the Registration Office.

• Having the department chair sign the form forstudio courses. If the course is a studioelective in a different department, the formmust be signed by both the student's majordepartment and the department offering thecourse. For Liberal Arts and Sciences courses, students must have the form signed by anacademic advisor in the Liberal Arts &Sciences Department.

• Returning the form with all required sig-natures to the Office of Registration and Records.

Those attending school on an F-1 (student) visamay not be enrolled less than full-time.International students should consult theDesignated School Official prior to dropping belowfull-time status. Students receiving financial aidmay have their awards adjusted downward if theydrop below full-time enrollment. Such studentsshould seek advice from the Financial Aid Officebefore dropping below full-time status.

Important: Students enrolled as less than full-timewho wish to increase their total number of creditsmust see the Student Accounts Office prior to returningthe Add/Drop Form to the Office of Registration andRecords. Students who are adding a course that willmake their total number of credits greater than 18must see the Student Accounts Office prior to returningthe form to the Office of Registration and Records.

Independent StudyAn independent study is a special course designedby the student with a supervising instructor.Independent study courses are intended to provideinstruction in special topics not covered in theregular curriculum. Students may not enroll inmore than six credits of independent study persemester. To apply for an independent study course,students must complete the following procedure:

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• Register for an independent study course• Complete an Independent Study Course

Proposal Form and have it signed by theappropriate chair (chair of your major department or the chair of Liberal studies).

• Submit the completed Independent StudyCourse Proposal form to the RegistrationOffice prior to the deadline (see the academic calendar).

Participation in Continuing EducationCoursesDegree students who plan to enroll in aContinuing Education class and receive credittoward their degrees must take the course as anIndependent Study course. Students must:

• Add the Independent Study class by the LastDay to Add a Class, as specified on theacademic calendar.

• Obtain the department chair's signature ofapproval on the Add/Drop Form.

• Receive approval from the Dean ofContinuing Education.

• Complete and submit an Independent StudyForm signed by the department chair and theDean of Continuing Education.The IndependentStudy Form will state which degree requirement isbeing replaced by the Continuing Education courseand will specify any additional work to be performedor other conditions of approval.

Students who enroll in Continuing Educationcourses pay the regular day program rate of tuition,and must take the CE course for credit. Most CEcourses carry one credit. CE courses may beincluded in the 12-18 credit full-time tuition rate aslong as the combined number of credits taken inboth the day and CE programs does not exceed 18.

Withdrawal from the CollegeTo officially Withdraw from the College, a student must:

• Obtain a Request to Withdraw from the Collegeform from the Office of Registration and Records.

• Obtain signatures from his/her DepartmentChair, the Director of Financial Aid, the Deanof Students, the Library, the Director ofStudent Accounts and the Registrar

• Return his/her student identification to theOffice of Registration and Records.

• Satisfactorily meet all financial obligations.• Return all materials to the Tool/AV Crib,

Photo Lab, and Library.• Schedule an exit interview with the Dean of

Student Affairs.• Return the Request to Withdraw from the

College Form to the Office of Registrationand Records.

Administrative Withdrawal At the discretion of the Dean of Student Affairs, astudent may be eligible for an AdministrativeWithdrawal during the semester due to unexpectedlife changes. An Administrative Withdrawal willremove the student for every class he/she isenrolled and give the student a "W" grade in allclasses. A student cannot use an AdministrativeWithdrawal to be removed from certain classes;the student must withdraw from all classes.Depending on the reason for the AdministrativeWithdrawal, a student will need to providedocumentation as verification of the stated reasonfor withdrawal.

If a student "walks away" from the Collegewithout filing the Request to Withdraw from theCollege form, the Registrar will process anAdministrative Withdrawal. In this circumstance,the grades assigned and any refund of tuition andfees will be based on the last date of attendance asverified by attendance records. For moreinformation regarding the AdministrativeWithdrawal process please contact the StudentAffairs Office.

Readmission to the College

Students who left the College and wish to re-enrollafter a period of absence must apply for readmission.The readmission application should be submitted atleast 3 months prior to the start of the semester inwhich the student wishes to enroll. An applicationfee of $40 is required. Students must submit officialtranscripts for any courses attempted at anothercollege during the period of absence.

Students who left the College while on academic probation (term or cumulative grade point average below 2.0) must have theirreadmission applications reviewed by the AcademicStanding Committee. This process may include an

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in-person interview with the Committee members.Students who have been academically dismissedfrom the College may sometimes reapply, basedupon completion of any conditions outlined in theirdismissal letters. Dismissed students must have theirreadmission applications reviewed by the AcademicStanding Committee. This process may include anin-person interview with the Committee members.

In all cases, readmission to the College is notguaranteed. With readmission there is also noguarantee of continuation in the major of choice.The Academic Standing Committee will makedecisions regarding readmission of students wholeft while on academic probation or who wereacademically dismissed from the college.

Completion of Foundation StudioCourses

Students must complete any missing Foundationstudio courses before they may begin their juniorlevel studio courses. The missing requirements maybe taken during the fall, spring or summer semestersat Otis, or with the Foundation Chair's approval,may be completed off campus at an accreditedcommunity college or university. In some cases,students may be permitted to substitute a differentstudio course for selected missing foundation work.The Foundation Chair must approve any such coursesubstitution prior to enrollment in the course.

Graduation and Retention RateThe current graduation rate for 2009 is 55.9%.This percentage is based on first time, full-timestudents who entered in Fall 2003 and completedtheir degree within the six years. The current retentionrate for 2009 is 80%. This percentage is based onfull-time. first-full time students who entered in Fall2008 and were still enrolled as of Fall 2009.

Mobility (Exchange) Program

The Mobility Program allows students to spend onesemester in their junior year at another participatingart/design college. Students pay regular Otis tuitionand fees to attend any AICAD College (see below) oranother participating college, on a space-availablebasis. Credit for mobility study varies by department.The program offers personal enrichment throughstudy in a new context with different faculty. For

more information or an application, see the Office ofRegistration and Records.

AICAD (Association of IndependentColleges of Art and Design) MemberColleges Alberta College of Art and Design • Calgary,Alberta, Canada

Art Academy of Cincinnati • Cincinnati, OhioArt Institute of Boston • Boston, MassachusettsCalifornia College of the Arts • Oakland,

CaliforniaCleveland Institute of Art • Cleveland, OhioCollege for Creative Studies • Detroit, MichiganColumbus College of Art and Design • Columbus,

OhioCooper Union School of Art • New York, New YorkCorcoran School of Art • Washington, DCEmily Carr Institute of Art and Design •

Vancouver, British Columbia, CanadaKansas City Art Institute • Kansas City, MissouriLaguna College of Art and Design • Laguna

Beach, CaliforniaLyme Academy College of Fine Arts • Old Lyme,

ConnecticutMaine College of Art • Portland, MaineMaryland Institute College of Art • Baltimore,

Maryland Massachusetts College of Art • Boston,

MassachusettsMemphis College of Art • Memphis, TennesseeMilwaukee Institute of Art and Design •

Milwaukee, WisconsinMinneapolis College of Art and Design •

Minneapolis, MinnesotaMontserrat College of Art • Beverly,

MassachusettsMoore College of Art and Design • Philadelphia,

PennsylvaniaNova Scotia College of Art and Design • Halifax,

Nova Scotia, CanadaOntario College of Art and Design • Toronto,

Ontario, CanadaOregon College of Art and Craft • Portland,

OregonPacific Northwest College of Art • Portland,

OregonParsons School of Design • New York, New YorkPennsylvania Academy of the Fine Arts •

Philadelphia, PennsylvaniaRhode Island School of Design • Providence,

Rhode Island

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Ringling School of Art and Design • Sarasota,Florida

San Francisco Art Institute • San Francisco,California

School of the Art Institute of Chicago • Chicago,Illinois

School of the Museum of Fine Arts • Boston,Massachusetts

University of the Arts • Philadelphia,Pennsylvania

Non-AICAD Participant CollegesÉcole Nationale Superieure des Beaux Arts •

Paris, FranceKonstfack National College of Art • Stockholm,

SwedenTyler School of Art • Philadelphia, PennsylvaniaWinchester School of Art • Winchester,

Hampshire, United KingdomWillem de Kooning Academy • Rotterdam,

Netherlands

Mobility Student ResponsibilitiesAs an applicant for the Mobility Program, it is thestudent’s responsibility:

• To prepare the application in accordance withthe instructions on the Mobility ApplicationForm including obtaining all required signatures.

• To pay all tuition and fees to Otis College andto clear the student account with the StudentAccounts Office.

• To inform the Financial Aid Office of plansto participate in the mobility program.

• To contact the host college regarding housing. Otis College does not guarantee housing at thehost campus. Housing is the responsibility ofthe student.

• To obtain catalog information from the hostcollege for use in determining the courses thestudent should take there.

• To maintain contact with the host collegemobility representative. Contact informationis available from the Mobility Coordinator inthe Registration Office.

• If going outside the United States, to obtain astudent visa from the host country’s embassy;to obtain a current U.S. passport; and toarrange for any necessary immunizations.

• After completing the mobility studies, toarrange for official transcripts to be sent toOtis College. In the case of colleges without

traditional transcripts, the student must obtaindescriptions of course work completed, including contact hours for each course, and mustdocument work completed on mobility forfuture review by the department chair at Otis.

DeadlinesCompleted applications must be received by thehost college by:Fall term applications: April 10*Spring term applications: November 1*

Therefore, completed applications must bereceived by the Registrar by:Fall term applications: April 1Spring term applications: October 15* Participating Non-AICAD Colleges may have

different deadlines. Please contact theirmobility coordinators.

VeteransAs a recognized institution of higher learning, Otiswelcomes veterans and the dependents of 100%service-connected disabled or deceased veterans whoqualify under the provisions of the United Statespublic laws pertaining to their education. A Certificateof Eligibility from the Veteran's Administration must bepresented with the application for admission. Otis is aparticipant in the Yellow Ribbon Program.Veteransmust be accepted into a degree program to be eligiblefor Veterans Administration benefits.

Academic Policies

Payment of Tuition and FeesPayment of tuition and fees is now availablethrough the Otis website. Outstanding balancesmust be paid in full before a student is cleared toregister for the next semester. To determine theupcoming semester's balance, refer to the tuitionand fees schedule in the Student AcademicPlanner, the Financial Aid award letter, and the on-line Registration Fee Assessment. The balance duewill be the difference between total tuition andfees and the total net amount of any financial aidawarded. Tuition balances owed may be paidusing any of the following methods:

• TuitionPay Payment Plan (available online)(Please note that this option is not available to International Students)

• Received or anticipated award of financial aid

• Credit card and electronic checks through the Otiswebsite (Mastercard, Discover, American Express)

• Cash, personal check, cashier’s check, ormoney order at the Otis Cashier’s Window.

• Any combination of the above

Questions regarding payment of student accountbalances should be directed to the Student AccountsOffice. Questions concerning Financial Aid shouldbe directed to the Office of Financial Aid.

Tuition Refunds

The official date of withdrawal used in calculatingrefunds will be the student's last date of attendance as determined by the Registrar.Students dismissed from Otis for disciplinaryreasons forfeit the right to claim refunds oftuition, deposits, and fees. Students who withdrawwill have their tuition and fees reduced accordingto the following schedule. In addition, studentswill be charged a $100 administrative fee.

If you withdraw in Fall, Spring or Summerby 5:00 pm Tuition Reductionbefore classes begin 100%Friday of the first week 90%Friday of the second week 75%Friday of the third week 50%Friday of the fourth week 25%after the fourth week 0%

Tuition Refund Schedule for GraduateGraphic Design Summer Semester Only

If you withdraw in Summerby 5:00 pm Tuition Reduction

before classes begin 100%Friday of the first week 90%Friday of the second week70%Friday of the third week 35%after the third week 0%

Title IV Federal regulations require that a studentwho withdraws and is receiving Title IV financialaid will retain a portion of his/her federal aid basedon the percentage of time he/she has attendedclasses during the semester. The remaining financialaid must be returned to the government.

Important Notes:• Any and all Otis grants and scholarships are not

earned until after the completion of the tuitionadjustment period as published in the catalogue.

• Students who drop below full-time status orwithdraw after the completion of the tuitionadjustment period as published in the cataloguewill retain Otis grants and scholarships.

• Students who drop below full-time status orwithdraw before the completion of the tuitionadjustment period as published in the catalogueforfeit all Otis grants and scholarships.

Tuition and fees are calculated using the followingcharges, as applicable. Fees are subject to changewithout notice. Please note that the amounts oftuition and fees listed on the following page areper semester.

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Financial Policies

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Financial Policies

Tuition and Fees for 2010 - 2011

Undergraduate Tuition per semester $16,100.Per Credit Tuition (under 12 or over 18 credits) $1074.

Graduate Tuition per semester $16,600.Per Credit Tuition (under 9 or over 18 credits) $1107.

Registration Fee per semester $200. Technology Fee per semester $125.

*Graduate Graphic Design Spring 2011 $5535*only available to students enrolled in the primary track and taking the "mentor only" curriculum in the spring term. Students must pay the mandatory $200 registration fee in addition to their tuition.

**International Student Health Insurance FeesFall (estimated costs - subject to change) $330Spring/Summer (estimated costs - subject to change) $462**All incoming and readmitted international students (F-1, J-1 or M-1 visa only) are required to be

insured under the International Student Health Insurance Plan provided by the College and willbe automatically enrolled at the time of Registration.

Course-Based Fees

General College Material Fee per semester $25.ESL English Class Fee per semester $1000.Studio Course Materials Fees per semester Varies - see schedule.

Miscellaneous Fees

Unofficial Academic Transcript no chargeOfficial Academic Transcript (5-day service) $5.Rush Official Academic Transcript (24 hour service) $25.

Returned Check Charge $50.Parking Fee (Goldsmith Campus) no chargeReplacement Parking Sticker Fee $20.Parking Violation $35.Late Registration Fee $275.

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Due Process ProcedureIn the event a student has an issue or concern thatis not otherwise addressed or provided for in theStudent Academic Planner or Otis’ other rules,regulations or procedures, the student may informthe Dean of Student Affairs of the issue orconcern. Otis’ subsequent determination andresolution of the issue or concern shall be final.

FERPA

The Family and Education Rights and Privacy Act(FERPA) affords students certain rights withrespect to their education records. They are:

• The right of the student to inspect and reviewhis/her education records within 45 days ofthe day the College receives a request foraccess. Students should submit to theRegistrar, Dean of Student Affairs , DepartmentChair or other appropriate official, writtenrequests that identify the record(s) they wishto inspect.The college official will makearrangements for access and notify the studentof the time and place where the records maybe viewed. If the requested records are notmaintained by the college official to whom therequest was submitted, that official shalladvise the student of the correct official towhom the request should be addressed.

• The right to request the amendment ofeducation records that the Student believes areinaccurate or misleading. Students may askthe College to amend a record that theybelieve is inaccurate or misleading. Theyshould write the college official responsiblefor the record, clearly identify the part of therecord they want changed, and specify why itis inaccurate or misleading. If the Collegedecides not to amend the record as requestedby the student, the College will notify thestudent of the decision and advise the studentof his or her right to a hearing regarding therequest for amendment. Additionalinformation regarding the hearing procedureswill be provided to the student when notifiedof the right to a hearing.

• The right of consent to disclosures ofidentifiable information contained in thestudent's education records, except to theextent that FERPA authorizes disclosurewithout consent. One exception that permitsdisclosure without consent is disclosure tocollege officials with legitimate educationalinterests. A college official is a personemployed by the College in an administrative,supervisory, academic, research, or supportstaff position, including law enforcement unitpersonnel and health staff; a person serving onthe Board of Trustees; or a student serving onan official committee, or assisting anotherschool official in performing his or her tasks.

A college official has legitimate educationalinterests if the official needs to review aneducation record in order to fulfill his or herprofessional responsibility. The College maydisclose certain information, known asdirectory information, at its discretion withoutconsent. Students may refuse to let theCollege release any or all of this information. If a student does not want this informationreleased, the student must send written noticeannually to the Office of Registration andRecords. Forms are available from that Office.The College has established the followingstudent information as public or directoryinformation: student name, address, telephonenumber, birth date, major field of study, datesof attendance, degrees and awards received,and the most recent previous educationalagency or institution attended. Upon request,the College discloses education recordswithout consent to officials of another school,in which a student seeks or intends to enroll.

• The right to file a complaint with the U.S.Department of Education concerning allegedfailures by the College to comply with therequirements of FERPA. The Office thatadministers FERPA is:

Family Policy Compliance Office, U.S.Department of Education, 400 MarylandAvenue, SW, Washington, DC 20202-4605

General Campus Policies

CollegePolicies

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General Campus Policies

Academic Integrity ProcessThe Academic Integrity Committee is the firstpoint of contact for the College in processingalleged cases of student plagiarism and/oracademic dishonesty. According to the Otis Codeof Conduct, “all forms of academic misconduct,including but not limited to: cheating, fabrication,plagiarism, or facilitating academic dishonesty” is a direct violation of the Code of Conduct.

The Academic Integrity Committee consists ofrepresentatives from Liberal Arts and Sciences,the various studio departments, and StudentAffairs. The chair of the Committee is appointedby the Chair of Liberal Arts and Sciences. Nofewer than three committee members will meet toreview a student’s case.

All accounts of academic misconduct should bereported to the Chair of Academic IntegrityCommittee. A formal Academic MisconductComplaint Form (found online at www.otis.edu/forms)should be filled out. Any member of the Otiscommunity can fill out a form. In addition to theform, faculty/staff/or other student shall assembleand submit documentation that supports theaccusation. The form and all evidence isforwarded to the Chair of the Academic IntegrityCommittee for review and investigation.

The student will be contacted to appear before thecommittee to share his/her case and answerquestions regarding the case.

Once the committee has heard the case, arecommendation will be made by the Committeeand the student will receive an official letterwithin seven business days from her/his meetingwith the Committee. In addition, the Dean ofStudent Affairs will be notified as to theCommittee’s recommendations and formalconduct sanctions up to and including dismissalfrom the College may be imposed by the CollegeCode of Conduct Committee.

All students can appeal the decision of theAcademic Integrity Committee in writing to theDean of Student Affairs within seven businessdays of the delivery of the letter.

The following recommendation(s) may beimposed by the Academic Integrity CommitteeNo actionIntellectual Dishonesty Project Failing grade on the plagiarized assignmentFailing the classLoss of privileges or exclusion from academicactivity or programDismissal from the College

Additional recommendations may be imposed atthe discretion of the Committee and with theapproval of the Dean of Student Affairs.

Non-DiscriminationOtis does not discriminate on the basis of race,religion, color, national origin, gender, sexual orientation, handicap, or age. Otis seeks compliancewith Title VI of the Civil Rights Act of 1964, TitleIX of the Education Amendments of 1972, andSection 504 of the Rehabilitation Act of 1973, asamended, which respectively prohibit such forms ofdiscrimination. Otis policy prohibits students,faculty, staff and Otis agents from discriminationagainst, and abuse or harassment of any personbecause of his or her race, color, or national origin.This prohibition against discrimination includesengaging in behavior that may:

a) Threaten the physical safety of any memberof the community;

b) Create an educational environment hostile toany member;

c) Discriminate against another person or persons;d) Inflict physical, emotional or mental injury

to, or provoke a violent response from, areasonable person.

This policy applies to all members of the Collegeincluding students, faculty, and staff, as well as guests, visitors and those functioning inrelationship to or as agents of Otis. Otis is committedto providing and promoting an environment free ofracially discriminatory conduct, and each member ofthe College community shares in the responsibility ofthis commitment and the promotion of these values.

AboutOtis

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History

In 1918, General Harrison Gray Otis, the founderand publisher of the Los Angeles Timesbequeathed his home to the city for “theadvancement of the arts.” For almost eighty years,Otis remained at this Wilshire Boulevard addressuntil 1997, when the College moved to theWestside campus.

From Spanish-Moorish mansion to seven-storycube, Otis continues to evolve. Designed byarchitect Eliot Noyes for IBM, the 115,000square-foot building was renovated by BobrowThomas, using the concept of an artist’s loft, or aworking studio, rather than that of a traditionalclassroom. Ahmanson Hall’s open planencourages communication among thedepartments, as well as between students andfaculty. The 40,000 square-foot horizontal GalefFine Arts Center, designed by Frederick FisherArchitects, opened in 2000. Its complex geometryand corrugated metal forms contrast with the“punchcard” vocabulary of Ahmanson Hall.Together, these buildings comprise the Elaine andBram Goldsmith Campus.

Timeline

• 1979: After six decades as a public institution,Otis goes private by allying with New York’sParsons School of Design. The fine artscurriculum is supplemented with three new design departments.

• 1992: Otis splits from Parsons, becoming theautonomous Otis College of Art and Design.

• 1997: Otis relocates from its historic Westlakehome to new campuses—one downtown in theheart of the fashion district, and the other onL.A.’s Westside, a few miles from the beach. Graduate Fine Arts relocates to its own studios in nearby El Segundo.

• 2007: Graduate Pulic Practice opens its studioat the 18th St Art Center, Santa Monica.Graduate Graphic Design begins in summer2008 at the El Segundo studios.

College History

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Univers, a type face designed by AdrianFrutiger in 1957

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Provost's Message - Otis College of Art and Design

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