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Dot magazine is published by the Department of Marketing and Communications.

Art Center College of Design1700 Lida Street, Pasadena, CA 91103artcenter.edu

Editor: Teri Bond Writers: Teri Bond, Alex Carswell, Rebecca Epstein, Jered Gold, Nancy Greystone, Mike Padilla, Mike Winder Art Director : Winnie LiDesigners : Andrea Carrillo, Eliana Dominguez, Winnie Li Production Designer: Audrey Krauss Web Designer: Eliana Dominguez Web Production: Chuck Spangler

Board Chairman: Robert C. Davidson, Jr. President: Lorne M. Buchman Senior Vice President, Development and External Affairs : Arwen Duffy Associate Vice President, Advancement Services : Armik Allen Associate Vice President, Development : Maya Chalich FredricksonAssociate Vice President, Marketing and Communications : Wendy Shattuck Director, Communications: Teri Bond Creative Director: Scott Taylor Director, Production: Ellie Eisner Director, Promotion and Public Affairs: Jered Gold

Front Cover: A camel is transformed into a mobile health clinic aided by a lightweight solar-powered refrigerator system designed by a Designmatters team working in collaboration with the Princeton Engineering Department. Photo ©Designmatters.

Back Cover: Es Tiempo logo designed by Mark Brinn. Safe Agua illustration by Ping Zhu. We Are Youth buttons by Heather Grates and Andrew Chen.

Photography: ©Art Center College of Design/Steven A. Heller; ©Designmatters; Alex Aristei; Cathy Cheney; Tony Di Zinno; Ron Galella, Ltd.; June Korea; Edmond O’Neill; Chuck Spangler; Jennie Warren; image from Mad Men by Frank Ockenfels, AMC, courtesy of AMC (page 2); image from The Queen courtesy of Miramax and Pathé (page 26).

© 2013 Art Center College of Design. All rights reserved. Dot, Art Center, and Art Center College of Design are trademarks of Art Center College of Design.

Student works reproduced or referenced in this publication are for educational purposes only. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without written permission of the publisher.

Printed on Topkote. FSC certified and Elemental Chlorine Free (ECF).

ART CENTER STUDENT FILMMAKERS ON SET. SEE STORY ON PAGE 23.

02 around the worldInnovative products, exhibitions, books and other ventures created by Art Center alumni and faculty.

08 featuresA Decade That Matters: Leading the Way in Social InnovationInspired by the Peace Corps, Art Center’s social impact design depart-ment, Designmatters, celebrates 10 years of socially conscious design and dozens of successes at home and abroad. Plus, a timeline showing the program’s smart solutions and public awareness campaigns that are making an impact on our society.

17Think You Can’t Change the World With a Fine Art Degree? Fine Art students and alumni find creative ways — and places — to leave their legacies. Find out how scholar-ships can be powerful investments in creating and building community.

23Re-designing the Movies: How Art Center is Uniquely Educating the Next Generation of FilmmakersArt Center’s graduate and under-graduate film programs recruit professionals working in the film biz to teach students that movies aren’t just shot, they’re designed.

30 dot newsCampus news: TEDx homerun, new trustees, Portland sportswear partnership, rethinking education, packaging push, welcoming new leadership and the 40-year legacy of Laurence Dreiband.

35 spottedWere you there? Recent events both on and off campus.

Camel Healing

In 2005, Art Center’s social impact design department, Designmatters, part-nered with the Community Health Africa Trust / Mpala Community Trust on a project using camels as mobile health clinics to serve people living in remote desert communities in northwestern Kenya. The team developed a lightweight, solar-powered refrigerator to transport life-saving medicines throughout the inhospitable terrain. “I’ll never forget the experience and the profound impact of how a well-designed product can so dramatically enhance people’s lives,” said Kenyan lead designer Patrick Kiruki PROD 05 (pictured above right). The prototypes have undergone several revisions and are being implemented in pilot testing, while additional funding is sought for further development that would allow for scalability of the invention. A San Diego–based organization has approached Designmatters to replicate the innovative solution for Ethiopia and other regions. Kiruki continues his work empowering people in his home-land with an award-winning sanitation system. Read more about Designmatters on pages 8–15.

designmattersatartcenter.org

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around the world

Mad for the Challenge Ellen Freund FILM 79

Ellen Freund is prop master on Mad Men, the hit AMC show that has garnered multiple honors for outstanding art direction. The steamy 1950s drama about life in the Madison Avenue advertising industry is also one of the most watched shows on the tube. In a recent Huffington Post profile, Freund, whose credits also include Twilight, Night at the Museum and Vanilla Sky, called Mad Men the biggest challenge of her career. “It is my first time on a television series, and the combination of a compressed time frame, limited budget and relentless schedules is very demanding,” said Freund. “Mad Men requires massive amounts of research to attain the level of accuracy that creator Matthew Weiner seeks and the entire crew strives for every day. The period is fascinating and visually stimulating, making it a real pleasure to work on.” Fans will be delighted to know that the show’s recently released Season 5 is available on Blu-ray and DVD. amctv.com/madmen

A Cabinet of Curiosities Mike Yamada PROD 03 Victoria Ying ILLU 07

The Lion, the Witch and the Wardrobe meets Alice in Wonderland meets A Series of Unfortunate Events in Curiosities, a fully illustrated 88-page hardcover storybook by husband and wife illustrating duo Mike Yamada and Victoria Ying. Curiosities tells the tale of a young brother and sister who inherit an eccentric old house with room upon room of accumulated wonders wherein they discover the stories and artifacts of their ancestors. Mike and Victoria, along with her brother, Jonathan, who wrote the story, launched a Kickstarter page to fund their storytelling efforts. With help from an enthusiastic group of friends, family and supporters, their initial fundraising goal of $4,000 was reached in less than 24 hours. They decided to stretch their campaign even further — ultimately raising just shy of $50,000. Along with the original book, the funding allows them to delve deeper into the story by publishing a prequel and creating additional items like posters, playing cards and more. If you’re interested in funding similar projects (or creating your own), visit kickstarter.com/artcenter. eca-la.com

Bring Home the Gold! Illustrating British Culture

Before the powerful images from the Olympic Games fade from your memory, take advantage of the chance to purchase a London 2012 commemorative work of art created by an Art Center student. For the past five years, Illustration Department Chair Ann Field has invited a group of students to explore London Ancient / Modern, a field trip and immersion in British culture that helps them understand how design, culture and history interconnect. As part of the trip, students and faculty operated an open studio at the highly regarded Kemistry Gallery, culminating in a series of prints that were part of the gallery’s Gold, Silver & Bronze exhibition. The series is a playful take on the Olympics and London’s cultural heritage, featuring knitting marathons, sporting pub signs and acrobatic diving into teacups, among many other whimsical interpretations of the Games. Upon returning home, the posters were exhibited at the British Consulate in Los Angeles during an exclusive party for the Olympics’ opening ceremonies. Limited-edition silkscreen prints of all the designs are available for purchase from Kemistry. kemistrygallery.co.uk

Catch a Wave, Now Len Stobar PROD 64

Let’s face it, sometimes surfing is a real bummer. After working your tail off all week, do you really want to spend half your Saturday paddling to catch those gnarly waves? Relax, dude, and don’t blow out your squeaker—WaveJet is here to save the day! Designed by alumnus Len Stobar, WaveJet is an Edison Award–winning personal water propulsion system designed to “change the way you interact with water.” Available for pre-order now, the quiet battery-powered miniature jet drive plugs into a variety of personal watercraft, is operated by a wireless controller you wear on your wrist, and promises to help you paddle out four times faster to your waves. Now if only they could do something about the traffic on Pacific Coast Highway. wavejet.com

more images online

PHOTO BY FRANK OCKENFELS, AMC. COURTESY OF AMC

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Yes We Can Embrace Great Design Stephanie Sigg ENVL 98

Regardless of political persuasion, everybody from Blue Dog Democrats to Log Cabin Republicans can agree that the logo Stephanie Sigg designed for the 2012 Democratic National Convention is a winner. Sigg—who’s worked with clients as varied as Doctors Without Borders, Nike, Mastercard, the United Nations and Late Show with David Letterman—said she considered working on the national campaign “a great honor.” The campaign concept of “America Coming Together” was designed to complement President Barack Obama’s existing campaign materials, represent the confluence of many voices and people, and to work across a diversity of mediums, including buttons, signage, television and digital apps. stephaniesigg.carbonmade.com

No Restraining Order Required Ron Galella PHOT 57

He’s been dubbed everything from “Paparazzo Extraordinaire” to “the Godfather of U.S. paparazzi culture,” but one thing photographer Ron Galella has never been called is timid. His tales are the stuff of legend. When former First Lady Jackie Onassis placed a restraining order on Galella, he responded by carrying around an oversized tape measure as he photographed her. And when Marlon Brando punched Galella, breaking his jaw, he one-upped the star by photo-graphing him while donning a football helmet. As of late, the attention has turned to Galella himself—his work was the subject of recent exhibitions in St. Tropez and Amsterdam, as well as the new retrospective book, Ron Galella: Paparazzo Extraordinaire!  This year, Galella and his wife, Betty, established an annual scholarship benefiting advanced photography students at Art Center. rongalella.com

Opposites On Display Ryan Perez FINE 08

When you buy a pair of scissors and begin to consider the form and aesthetic over the functionality of the tool itself, that’s the moment of seduction—so says Los Angeles-based artist Ryan Perez. Perez, whose sculptures and photographs of exacting studio constructions playfully confound distinctions between artistic and industrial production (no doubt influenced by his time at Art Center), recently had his work on display in his first international solo exhibition at YAUTEPEC Gallery in Mexico City. Don’t Say Goodnight offered two series of photographic works, B.O.G.O. Vision and Three Sisters, both of which represent that moment of seduction and the friction between formal and conceptual concerns as part of an iterative process. Closer to home, Perez and alumna Diana Thater GART 90 are two of the artists exploring the theory of opposites in Dualities, a recent exhibition at the Bank of America Plaza in downtown L.A. curated by Janet Levy.ryan-perez.com

B.O.G.O. VISION (PINK & GREEN), 2012ARCHIVAL PIGMENT PRINTS AND ACRYLIC URETHANE ARTIST FRAMES50½" x 40½" EACH, FRAMED

ESCALATOR TO NOWHERE, 2011MDF, ACRYLIC POLYURETHANE, INDUSTRIAL STRAPPING75" x 30" x 24" PER OBJECT

10 WORKS BY REBECA MÉNDEZ

OCTOBER 7, 1971: NEW YORK CITY — WINDBLOWN JACKIE — JACKIE ONASSIS ON MADISON AVENUE. PHOTO BY RON GALELLA

NOVEMBER 26, 1974: NEW YORK CITY — MARLON BRANDO AND RON GALELLA ATTEND A GALA BENEFITING THE AMERICAN INDIAN DEVELOPMENT ASSOCIATION AT THE WALDORF-ASTORIA HOTEL. PHOTO BY RON GALELLA, LTD.

10 WORKS Spurs National Recognition Rebeca Méndez NEWM 97

Alumna Rebeca Méndez was recently honored as the recipi-ent of the 2012 National Design Award in Communication Design from the Smithsonian’s Cooper-Hewitt, National Design Museum. Méndez was selected alongside winners in 10 other categories based on the level of excellence, innovation and public impact of her body of work, which focuses on issues of organization, culture and identity. Upon receiving the award, Méndez shared, “My interest in matter, in cycles and systems—specifically the forces and cross-rhythmic tensions that make natural phenomena emerge—perhaps stem from my growing up in two seemingly entropic environments, Mexico City and the Mexican jungle, where common to both is hypercomplexity, multiplicity and constant change. My move to study at Art Center and live in Los Angeles, where syncretism and diversity are its core, only furthered this impetus.” In support of the award, Méndez designed 10 WORKS, a book containing selected projects with detailed descrip-tions, published articles by design and art curators, writers and critics, and cut-ups of the printed works. Coinciding with the national honor, At Any Given Moment, a video/mixed media installation of Méndez’s work, is on exhibit at the Nevada Museum of Art through January 20, 2013. rebecamendez.com

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There’s a New Game in Town Yves Béhar PROD 91

Last summer, startup OUYA broke Kickstarter records by raising more than $8.5 million (roughly $7.6 million more than its goal) to produce an open source, beautiful and affordable $99 Android-powered video game console. Inspired by the early days of video gaming, when individuals could write an Apple IIE program and take it to market, OUYA CEO Julie Uhrman wanted to create a system that would provide small developers easy access to living room gaming. And when it came time to design the console, Uhrman turned to Yves Béhar, the Product Design alumnus famous for designing the One Laptop Per Child XO computer, the Jawbone Jambox and the Herman Miller Leaf Lamp. What really sets OUYA apart? Its infinite hackability. “You’re able to build things right from the start,” said Béhar of OUYA, which is available now for preorder. “You don’t have to have lots of credentials, just good ideas.” ouya.tv

Everybody Needs Love Jeff Berry ADVT 79

Appalled with the current state of marketing, which is often more concerned with search engine optimization than the actual reason websites need visibility, alumnus Jeff Berry and co-conspirator Cathey Armillas recently published The Unbreakable Rules of Marketing: 9½ Ways to Get People to Love You. Who are these rules for? Everybody. “All market-ing is about getting people to love you,” the book proclaims. “That's what it comes down to, isn't it? Love. This book is about the 9½ rules that govern how to get that love — for you, your company, your products, your ideas, your cause, your religion or your dog.” Topics covered include the importance of consistency, creativity and simplicity, and how emotions rule the world. And the love doesn’t stop there. Next up, the branding dynamic duo tackles The Unbreakable Rules of Creativity.unbreakablerules.com

JEFF BERRY

YVES BÉHAR

ART CENTER presents

artcenter.edu/plannedgiving

 Powerful  New Tools 

 for Creating  Your Legacy 

Give

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Art Center’s new online Planned Giving tools are a powerful resource.

They can help you achieve your charitable goals while building a meaningful, lasting legacy for future generations.

Learn how to maximize the impact of

your giving today.

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A Decade That Matters: Leading the Way in Social Innovation

Ten years after its founding, Designmatters is making a difference within and beyond Art Center.

by ALEX CARSWELL

“This University is not maintained…merely to help its graduates have an economic advantage in the life struggle. There is certainly a greater purpose, and I'm sure you recognize it.” — JOHN F. KENNEDY / October 14, 1960, speaking to students at the University of Michigan.

As he campaigned for the White House, John F. Kennedy challenged America’s younger generation to use their talent not just to bet-ter themselves, but also to somehow make a difference in the world. Shortly after taking office in 1961, President Kennedy formed the Peace Corps, a transformational government agency that celebrated America’s core values, galvanized our national will and has facilitated service in support of that “greater purpose” for more than half a century.

Forty years later, Art Center students were surveyed on their desire to have some sort of curricular “Peace Corps–type” opportunity. The overwhelmingly positive response set the wheels in motion for what would soon become Designmatters at Art Center, the College’s innovative social-impact initiative. In addition to the Peace Corps model, the brain trust that conceived and developed Designmatters also had other influences. Erica Clark—then Art Center’s senior vice president of International Initiatives—had investigated a number of socially engaged design programs at

European institutions. And here at Art Center, “Community Workshop” was already a popular graphic design class that engaged students in projects with local social-impact objectives.

“There had also been a film class that made public service announcements,” says Mariana Amatullo, who along with Clark co-founded Designmatters. “And there was a particularly inspiring product design class that had engaged with the Centers for Disease Control to design water containers that would help stem the spread of cholera in developing countries.”

Amatullo was tasked with conceiving edu-cational programming that embraced social impact design and “connected the College globally.” With the support of then-Art Center President Richard Koshalek, a task force with College-wide representation was convened to explore how to formalize and integrate this new curricular emphasis. “Early on,” notes Amatullo, “the task force proposed that we work locally, nationally and internationally, and defined the mission of the program—which remains the same today: To engage, empower and lead an ongoing exploration of art and design as a positive force in society through research, advocacy and action.”

Four thematic pillars were proposed and evolved as a framework for study and outreach—Sustainable Development, Public Policy, Global Healthcare and Social

Entrepreneurship—and in Fall 2002 the first two Designmatters projects (addressing homelessness in Los Angeles and colon cancer prevention) were incorporated into the cur-riculum. In the decade since, Designmatters has participated with dozens of local, national and international partners in more than 50 projects that seek to effectively improve the human condition, and create better designers in the process.

That decade also saw Designmatters grow from offering two funded projects per term to as many as five per term today. Additionally, many more projects are somewhere in a pipe-line that starts long before a class is offered, with incubation and coalition building, and finishes long after, when documentation of the process is published. What was an initiative became a standalone educational department in 2009. And in 2010, with ever more incom-ing students citing the initiative as, according to Amatullo, “a clear differentiator” in their choice of school, Art Center launched a formal Designmatters concentration.

“Hearing that from students provided strong motivation to serve them with a robust set of educational offerings and to build a curricular trajectory toward careers in these important areas,” says Amatullo, now Art Center’s vice president overseeing Designmatters. “And this year it laid the groundwork for our introduction

of Artmatters—a complementary and parallel concentration in the Fine Art Department that will add a new dimension to questions of art and social engagement.”

The Designmatters Department also is over- seeing a joint curricular Field track in Media Design Practices, built around a yearlong project conducted in the field. “Students in this track will design in a real-world context where social issues, media infrastructure and communica-tion technology intersect,” says Media Design Practices Chair Anne Burdick. The inaugural project partner is UNICEF’s Innovation Lab in Uganda, where students will do their fieldwork.

AWARDS, ACCOLADES AND RICHES Since its founding, Designmatters projects have produced dozens of award-winning results— from Student Clios and Cannes Young Directors distinctions to Red Dot and Core 77 awards. And in May, based on the Department’s entire body of work, co-founder Amatullo received the inaugural Dell Social Innovation Education award. As an initiative, Designmatters itself has received accolades unparalleled in the academic sphere: In 2003, in recognition of Designmatters’ service to society, Art Center became the first (and remains the only) art and design school granted Nongovernmental Organization (NGO) status by the United Nations. In 2005, Art Center became the first art and design school affiliated as a Civil Member of the Organization of American States (OAS), and also earned NGO status with the United Nations Population Fund (UNFPA).

Designmatters, with its innovative model for participatory design and community

engagement that uniquely enhances student skill sets, gives designers tools to generate more resonant and insightful outcomes—in any context. It also provides priceless advocacy and tangible assistance for the subjects of its diverse portfolio of projects. Yet the richest outcome of any Designmatters effort is always the feeling of accomplishment in the students. Maria Moon GMDP 08, a graphic designer whose first involvement with Designmatters came as a fourth-term Graduate Media Design student, voices a common sentiment when asked about her experiences. “The projects that I have par-ticipated in have been immensely rewarding on a personal level, and have contributed signifi-cantly to my career and outlook on design.”

Now a senior user experience designer for Samsung Design America, Moon lives in New York but has remained involved with Designmatters as an alumna. In her most recent project, she collaborated on “Uncool,” an anti-gun violence campaign created and planned for implementation in the Los Angeles Unified School District within the next year. As for why she maintains ties to Designmatters after graduation and from across the country, Moon is unequivocal: “Once you understand that you can make a difference through your work, the challenge to have a positive impact in the world is too strong to ignore.”

Those are welcome words to Elisa Ruffino, who began working with the Designmatters team early on, first as coordinator and later as project producer. Now she is the Department director, with a unique perspective on this decade of growth, as well as on what the future holds.

FACING PAGE: Faculty member La Mer Walker consults with students and UN Population Fund partner Christian Delsol.

ABOVE: Vice President Mariana Amatullo gives feedback in an educational studio.

LEFT: Director Elisa Ruffino reviews student presentations in the USGS Wildfires studio.

“Over the last 10 years, we’ve had a laser-like focus on the student experience,” says Ruffino.

“Working within Art Center’s model of transdis-ciplinary studios, involving the talent of some of our highest-caliber faculty, and building a record of intensive engagement in this space over a decade has been unique and rewarding. But looking ahead, we will be building a bridge to the strong community of recent graduates and alumni who value this type of work, not just as a satisfying educational exercise, but as a professional calling.”

Ruffino plans to work closely with Alumni Relations Director Kristine Bowne to connect with alumni who are working in this space—noting that many have been doing so since before Designmatters existed—in order to extend the reach of the program and foster its goals. But she is confident that even without a formal architecture, because of their involve-ment at Art Center, Designmatters veterans will continue to pursue responsible, innovative and human-centered strategies that organically expand the web of social impact design.

“For many students,” says Ruffino, “these experiences take art and design practices beyond what they have meant before. It becomes like a light switched on, and many students become so intensely focused that from then on they only want to practice design in this context.”

Perhaps because, as President Kennedy believed, they have recognized design’s—and their own—greater purpose.

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2006Art Center becomes the first art and design school to be granted Nongovernmental Organization (NGO) status with the United Nations.

Graduate Media Design class designs the first interactive conference website at the UN Department of Public Information and attends the NGO Conference.

2003 PROJECTS

1 The Nyumbani Village Project 2 UN DPI/NGO Conference graphic identity

• UN DPI/NGO Conference media platform

2004 PROJECTS

3 Western Justice Center Toys as Tools for Peaceful Conflict Resolution 4 What If? PSA for the UN Millennium Goals Campaign 5 UNFPA gender equality PSAs

• UNIFEM anti-violence PSAs • American Cancer Society anti-smoking PSA

Art Center becomes the first art and design school to be affiliated as a Civil Member Organization with the Organization of American States (OAS).

Granted NGO status with the United Nations Population Fund (UNFPA).

First student-created PSA campaign for UNFPA receives worldwide broadcast distribution on CNN International.

Designmatters and Transdisciplinary Studios expanded across educational departments at Art Center.

2005

Designmatters mission established: “To engage, empower and lead an ongoing exploration of art and design education as a positive force of society through research, advocacy and action.”

Project Awards

2003Young Directors Award, Cannes Film Festival Second Place: Prelude #2, PSA directed by Hoku Uchiyama

2004Adobe Design Achievement AwardSecond Place, Print Collaboration Category: Nyumbani Village Concept Cards, developed as part of the Nyumbani Village project. Students: Delna Balsara, Nikolai Cornell, Guilhem De Castelbajac, Humberto E. Flores, Patrick Kiruki, Brody Larson, Nathan Lewis II, Shawn Randall, Thasdao Donna Salazar, Susheela Sankaram, Cailtin Smith, Sonia M. Spragg and Jonathan Nazareth Zabala

2006Summit Creative Awards, PSA Video Category Gold Status: My First Experience, PSA directed by Cody Heller

Bronze Telly AwardsVideo Category: My First Experience, PSA directed by Cody Heller

School-wide survey assessing student interest in “Peace Corps-type” opportunity.

Launch of Designmatters Taskforce.

FOUR THEMATIC PILLARS

• Public Policy • Sustainable Development • Global Healthcare • Social Entrepreneurship

2007Mobius AwardStudent Category, Television: Moving Day, PSA directed by Gregg Casson

2008Silver Spark AwardWorld-Changing Category: Images Speak. Publication developed as part of the Mpala Project Students: Ching-Ching Cheng, Andrew Behr, Melissa Galaviz Rocamora, Rawn Trinidad and Sara Hofmann

Southern California World Water Forum College GrantAgua Pura Solar water purifier designed to provide access to clean water in rural Guatemala Students: Armie Pasa and Gabe la Ó

Bronze Industrial Design Excellence AwardColor Guard Mosquito Net. Developed in GE Healthcare Anywhere studio Students: Eric Burns, Alex Chou, Karen Han, Eren Hebert, Young Kim and Roel Punzalan

Academy of Television Arts & Sciences’ College Television AwardFirst Place, Outstanding Commercials Category: Blowing Smoke, PSA directed by Jonas Mayabb

Clio AwardStudent Category, Television/Cinema/Digital: Moving Day, PSA directed by Gregg Casson

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6 Johnson Controls Project: The Driven Environment 7 PAHO tobacco and alcohol awareness PSAs 8 Rebuilding New Orleans

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9 American Cancer Society Awareness Campaign 10 Stigma LA Department of Mental Health Campaign 11 YouOrleans branding of the Katrina Furniture Project 12 International Organization for Migration Animated PSAs

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Silver ADDY AwardStudent Category, Los Angeles City Level: Moving Day, PSA directed by Gregg Casson

Three Bronze Telly AwardsCommercial Category: Moving Day, PSA directed by Gregg Casson

Silver ADDY AwardStudent Category, Los Angeles City Level: The G.G. Meeting, PSA directed by Alice Park

Gold ADDY AwardStudent Category, District Level: The G.G. Meeting, PSA directed by Alice Park

National ADDY Award Finalist: The G.G. Meeting, PSA directed by Alice Park

Bronze Telly AwardCommercial Category: The G.G. Meeting, PSA directed by Alice Park

Shortlist, Cannes Film Festival Young Director AwardNon-European Film School Category: The G.G. Meeting, PSA directed by Alice Park

2009Corbis Creativity for Social Justice AwardImages Speak. Publication developed as part of the Mpala Project

Students: Ching-Ching Cheng, Andrew Behr, Melissa Galaviz Rocamora, Rawn Trinidad and Sara Hofmann

Art Directors Club AwardSilver Cube: Images Speak, publication developed as part of the Mpala Project Students: Ching-Ching Cheng, Andrew Behr, Melissa Galaviz Rocamora, Rawn Trinidad and Sara Hofmann

Art Directors AwardsBroadcast Advertising Category, Merit Award: Blowing Smoke, PSA directed by Jonas Mayabb

ID Magazine Annual Design ReviewAward of Distinction, Student Work: Blowing Smoke, PSA directed by Jonas Mayabb

2010Spark AwardMultiple Bronze, Silver, Gold and Spark Awards: Design Team for Safe Agua Students: Elizabeth Bayne, Jackie Black, KC Cho, Ramon Coronado, Narbeh Dereghishian, Stella Hernandez, Erica Li, Nubia Mercado, Stephanie Stalker, Will Tang and Diane Wei

ID-Mag.comBest in Category: Es Tiempo Students: Phillip An, Mark Brinn, Tracy Hung, Haelee Kang, Chris Lack, Lucia Loiso and Camille Ontiveros

2011How Self-Promotion Design AwardsCategory of Student Promotions, Merit: Safe Agua Students: Elizabeth Bayne, Jackie Black, KC Cho, Ramon Coronado, Narbeh Dereghishian, Stella Hernandez, Erica Li, Nubia Mercado, Stephanie Stalker, Will Tang and Diane Wei

Core 77 Design AwardsCategory of Design for Social Impact, Professional Notable: Safe Agua Students: Elizabeth Bayne, Jackie Black, KC Cho, Ramon Coronado, Narbeh Dereghishian, Stella Hernandez, Erica Li, Nubia Mercado, Stephanie Stalker, Will Tang and Diane Wei

ICSID World Design Impact PrizeFinalist: Safe Agua Students: Elizabeth Bayne, Jackie Black, KC Cho, Ramon Coronado, Narbeh Dereghishian, Stella Hernandez, Erica Li, Nubia Mercado, Stephanie Stalker, Will Tang and Diane Wei

2008 PROJECTS

16 Images for Human Rights Exhibition 17 The Los Angeles Earthquake: Get Ready Initiative 18 UNFPA: Campaign Celebrating Population and Development ICPD+15 19 Climate Change PSA series 20 UNICEF from Hi-Fi to Lo-Fi

• Flintridge Operating Foundation: Gang Violence Prevention Campaign • Project Concern International: Tijuana Mobile Health Outreach Clinic • Designing Water’s Future

Number of Designmatters projects increases to 3-5 funded per term.

Finalist at the World Bank Global Marketplace Competition: MPALA Project, Kenya.

Designmatters Fellowship Program launched.

2007 PROJECTS

13 Mpala Camel Clinic Project 14 GE Healthcare: Healthcare Anywhere 15 UNFPA Safe Motherhood Campaign

Designmatters designated as full Educational Department.

2009 PROJECTS

21 + 22 Safe Agua Chile

• Es Tiempo: Cervical Cancer Prevention Among Latinas • Family Plz: Mayo Clinic Cancer Prevention Campaign • Vato Verde • The Organization of American States: Centennial Rebranding Project

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• Advanced Micro Devices (AMD) Open Architecture Challenge: Namaste— A Telemedicine Center in Nepal • The Ark Project: A Winter Storm Campaign for USGS • Research for a Gender-Based Violence Prevention Campaign in the Asia- Pacific Region • The Organization of American States: Rebranding Project • GE Healthcare: Future Healthcare Solutions for the Aging

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2012

AIGA 365: Design Effectiveness AwardCategory of Digital Motion Design: The Harry Gota Story / Safe Agua Chile Students: Ian Abando, Elsa Chang, Gürkan Erdemli, James Kim, Micael Klok, Nadia Tsuo and Jason Yeh

Industrial Designers Society of America (IDSA) International Design Excellence Award (IDEA)Category of Design Strategy and Management —Bronze: Safe Agua Finalists: ReLava Kitchen Workstation, Safe Agua, KC Cho and Jackie Black / Ducha Halo Portable Shower, Safe Agua, Jessica Yeh and Narbeh Dereghishian

Art Directors Club AwardInteractive Division, Online Content Category —Gold Cube: Produced for the PCI 50th Anniversary Campaign, Voices From the Field Students: John X. Carey, Kyle Murphy and Jeremy Jackson Book Design Category—Merit Award: Safe Agua Chile Book Students: Pei-Jeane Chen, KC Cho, Evangeline Joo, Karen Ko, Giancarlo Llacar, Eric Mathias and Ping Zhu Motion Design Category—Merit Award: The Harry Gota Story / Safe Agua Chile

2010

Co-founder Mariana Amatullo receives inaugural Dell Social Innovation Education Award.

Graduate Media Design Practices: Field track launched.

2012 PROJECTS

30 ICPD: We Are Youth Campaign 31 Living Home India with Ashoka 32 UnCool: The Anti-Gun Violence Initiative 33 Goodwill Project

• USGS Tsunami Preparedness Campaign • Change in the Street: Pasadena Homelessness Studio

Students: Ian Abando, Elsa Chang, Gürkan Erdemli, James Kim, Micael Klok, Nadia Tsuo and Jason Yeh

Design Ignites Change AwardsCategory of Implementation: Ducha Halo,Safe Agua, Jessica Yeh and Narbeh Dereghishian

2012Red Dot Design AwardsBest of the Best: Balde a Balde, Safe Agua, Kimberly Chow / GiraDora, Safe Agua, Alex Cabunoc and Ji A You

Core77 AwardsRunner Up: Balde a Balde, Safe Agua, Kimberly ChowNotable: GiraDora, Safe Agua, Alex Cabunoc and Ji A You

Cannes Film Festival Young Director AwardShortlist: Hands in the Mist, Safe Agua Peru documentary directed by Erik Anderson

Dell Social Innovation AwardsOutstanding Leadership in Social Innovation Education: Mariana Amatullo Finalist: VitAmigos, Safe Agua, Cora Neil and Thomas Kong

IDSA/IDEA AwardsGold: Balde a Balde, Safe Agua, Kimberly Chow Gold: GiraDora, Safe Agua, Alex Cabunoc and Ji A You Finalist: Soap Buddy, Safe Agua, Carlos Vides / Caja del Tesoro, Safe Agua, Viirj Kan and Seth Weissman / Clean + Smart, Safe Agua, Mariana Prieto and Alexandra Yee

Spark AwardSpark! Highest Award: GiraDora, Safe Agua, Alex Cabunoc and Ji A You Gold: Balde a Balde, Safe Agua, Kimberly Chow Bronze: VitAmigos, Safe Agua, Cora Neil and Thomas Kong Finalist: Soap Buddy, Safe Agua, Carlos Vides / Caja del Tesoro, Safe Agua, Viirj Kan and Seth Weissman / Clean + Smart, Safe Agua, Mariana Prieto and Alexandra Yee

Design Ignites Change AwardsCategory of Implementation: Ducha Halo, Safe Agua, Jessica Yeh and Narbeh Dereghishian

The Tech AwardYoung Innovators Award: GiraDora and Balde a Balde, Safe Agua, Alex Cabunoc, Ji A You and Kimberly Chow

Designmatters Concentration in Art and Design for Social Impact launched.

2010 PROJECTS

23 Nonprofit Photography Studio: Pasadena Partnerships 24 World Health Day 2010: Urbanism and Healthy Living 25 PCI 50th Anniversary Campaign 26 Aging Desires: Designing for Transition 27 USGS Wildfire Prevention Campaign

• PCI Rebranding Project • NCIIA Guatemala: Creating Social Value Through Design • Para Nuestras Hijas • Case Studies for Social Change

2011 PROJECTS

28 Safe Agua Peru 29 Teen Art Park: A Place for Artistic Expression

• The Graying of AIDS: Off the Wall • Aquarium of the Pacific: Project Coastal Crisis • The ARKStorm Initiative • Sustainable Health Enterprises: Awareness Campaign Directions • Safe Agua—Exhibitions

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• Rethinking the Food Label with UC Berkeley + News21 • Project U HIV-AIDS Awareness Campaign with LAUSD • Friends of the Bad Weather Shelter Campaign • UnCool: The Anti-Gun Violence Initiative

• 17 ARTCENTER.EDU/DOT

Think You Can’t Change the World With aFine Art Degree?

Art Center artists show how their major — and the scholarships that support them — can be powerful

investments in creating community.

Written by Mike Padilla Photographs by Jennie Warren PHOT 05

 Get  Connected! 

Connecting talent with opportunity

Connecting projects with funders

Art Center has partnered with two of the world’s leading networking sites to connect members of our creative community with collaborative peers, potential employers and financial supporters.

artcenter.edu/behance

kickstarter.com/artcenter

join Today

 Behance 

 Kickstarter 

• 19 ARTCENTER.EDU/DOT• 18 WINTER 2013A

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otFEATURE

Kristy LovichSixth-term Fine Art major Kristy Lovich was becom-ing increasingly frustrated with her commute between her home in the Boyle Heights neighborhood of Los Angeles and Art Center in Pasadena. The lengthy chain of trains and buses that took her to and from campus sometimes meant getting up as early as four in the morning. And all that commuting was eating into cherished studio time.

Then one day the artist, poet and activist had a revelation. Says Lovich, “I asked myself, what if I make the bus my studio? And the train station? And the train? What if I embrace this aspect of my life and transform it into an opportunity?”

Embrace it she did, and today Lovich can often be found making art and teaching all along her route on the Metro Gold Line. You might see her conducting spirited art classes in Union Station’s iconic waiting room. Or creating chalk designs with a group of kids at one of the 21 Gold Line stations. Or hand stitching newspaper images into quilts while riding the train.

The result of her work has been an explosion of small, vibrant communities — sometimes planned, sometimes unexpected, often temporary — where creativity and conversation reign, and where partici-pants learn about drawing, painting, photography and a host of other art forms.

She often invites strangers to stop and make art with her, and sends out announcements via social media to spur gatherings of artists. At other times, small learning communities will spring up around her without warning — like the time a group of women walking through Union Station noticed her sewing one of her signature paper quilts and came over to investigate.

“It turned out they were a quilting group,” Lovich says. “They were fascinated by what I was doing, and so excited to see a younger person interested in quilt-ing as a contemporary art form.”

What followed was, in essence, an impromptu seminar in which the quilters shared their experiences and exchanged ideas about the role of art in the domestic sphere. “Everyone took away something meaningful from the experience,” she adds. “It was art school. It was community. It was education.”

At other times, the act of creating in a public space sparks confrontation. Lovich recalls the time she positioned herself across from Starbucks in Union Station — and proceeded to offer memories for sale to passersby for 50 cents each.

“Of course, the police approached me and said I couldn’t sell things there,” she says. “I explained I wasn’t selling ‘things’ but rather my own memories to people who wanted to hear them. The police were

Control RoomGraduating from Art Center, Fine Art alumni Evelena Ruether FINE 09 and William Kaminski FINE 09 didn’t want to lose track of the many remarkable artists they had met here.

“So often, once you leave school every-one disperses to pursue their individual careers,” Ruether explains. “We wanted to stay in touch with the community we’d created at Art Center. At the same time, we felt that many of our peers were doing work that was as good, or better, than what we were seeing in commercial galleries, and we wanted to create a place for them to exhibit their work.”

In this way was born Control Room, an artist-run gallery occupying part of

their live-work space on Seventh Street in downtown Los Angeles near the L.A. River. In its first years, the gallery offered a sense of community and networking opportunities for Fine Art graduates during the important early post-college years.

By sharing the cost of rent and keeping overhead low, Ruether and Kaminski find they don’t have to rely on traditional financial support systems, such as grants, to keep the space going. The result is increased freedom to mount whatever shows most inspire them, from the straightforward and traditional (think photography or drawing against stark white walls) to the out-and-out wacky

Artists and admirers mingle at Control Room, a downtown L.A. artist-run gallery founded by Art Center alumni.

( continued on page 20 )

( continued on page 21 )

Fine Art student Kristy Lovich talks with fellow travelers about her paper quilting process while waiting for the train at Union Station, Los Angeles.

“Our model is always to do what

best serves the work.”

• 21 ARTCENTER.EDU/DOT

really confused. We had a long discussion about semantics. They eventually agreed that if I changed the word on my sign from ‘sale’ to ‘barter’ that I wasn’t violating any laws.”

If Lovich sounds like a bit of a troublemaker, she insists that her efforts are well-intentioned, growing out of a strong personal commitment to social justice and a high regard for activists, writers and artists dedicated to what she calls “sculpting our communi-ties into healthy and equitable spaces.”

For Lovich, that means using art, and the place and manner in which it is created, to prod at existing assumptions about public space, power, privilege and history. “I want to create situations that puncture those assumptions just a little bit,” she says. “To be effective as an activist you don’t need to hold up a sign saying what you think the problem is, because the action itself will expose the problem within the system.”

The scholarships she has received to support her Art Center education reflect the value others see in her work as well. She has received funding from several sources, including an annual scholarship fund benefiting Fine Art majors established at Art Center by the San Marino League of California, a nonprofit organization of local women committed to philan-thropic work and furthering their own knowledge of fine art. (See Fine Art’s Fierce Advocates, page 22.)

“To have such support from the community is really meaningful and encouraging to me, and I’m incredibly grateful,” Lovich says. “I don’t qualify for private loans, so without scholarships I wouldn’t be able to attend Art Center.”

Next on tap is a project Lovich calls 21 Stops, a zine she is creating that will feature the work of 21 writers,

one for each stop along the Gold Line. The zine, in Spanish and English, will appropriate the design and form of the current Gold Line train schedule. Lovich plans to distribute it in the schedule holders on trains, camouflaged among the actual train schedules.

Does she foresee any problems with the Los Angeles Transit Authority? “Possibly,” she says. “I mean, I’m kind of inviting that, right? But I want to better under-stand: What is the relationship between public and private? Between personal identity and collective identity? What gives one organization more political power than the individual? It’s not like I have answers for those questions. But I want to ask them. I think it’s important to have that conversation.”

“Everyone took away something meaningful from the experience....It was art school. It was

community. It was education.”

to staff in a commercial gallery; they do everything from curate the shows to paint walls to repair fixtures.

Like any healthy organism, the com-munity of artists created by Control Room

is growing and changing right along with its founders. What had started out largely as a place for college grads to show their work has expanded to include artists from graduate programs all over Southern California and beyond, as well as mid-career artists of varying degrees of acclaim.

According to Kaminski, Control Room’s healthy following is in part the result of carefully striking a balance between the freedom of the typical artist-run gallery and the professionalism and precision of museums and commercial galleries. “Our model is always to do what best serves the work,” he says. “Sometimes that means crisp light and immaculate walls. At other times it means fog machines, black lights and puddles on the floor.” So why call it “Control Room”? Like Kristy Lovich, these artist-curators are interested in the relationship between space and power. Ruether, who recently completed her MA in Art and Curatorial Practices in the Public Sphere at USC, says, “We wanted to be cognizant of and highlight the power structures that are part of the system we are participating in. Who is in control? The space? The artist? The curator?”

As with Lovich, scholarships from some of Art Center’s key alliances played a role in helping Ruether and Kaminski complete their degrees. Kaminski also received a scholarship from the San Marino League, while Ruether received support from the Pasadena Art Alliance, which fosters appreciation for contem-porary visual arts throughout Southern California and for nearly four decades has been a generous supporter of annual scholarships for undergraduate Fine Art majors at Art Center.

Says Kaminski, “While the experience of a fine art education is dependably transformative, there isn’t always a clear occupational destination for art majors. The support provided by these organi-zations shows a lot of courage and deserves not just appreciation, but also tremendous respect.”

Art

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Artist-curators William Kaminski FINE 09 and Evelena Ruether FINE 09 are part of a growing community of artists from several Southern California

art schools at the Control Room.

(think Cheetos, water balloons and a cave into which you throw hotdogs).

It also means a lot of hard work. Ruether and Kaminski share the bulk of responsibilities that might be offloaded

• 22 WINTER 2013

FINE ART’S FIERCE

ADVOCATES

They’re consistently described as engaged, organized, hardworking, action-oriented and progressive.

They’re the women of the San Marino League (SML) and the Pasadena Art Alliance (PAA), two of Art Center’s strongest and most effective advocates for contem-porary art and design education. The work they do in support of the College’s Fine Art students goes well beyond fundraising. You’ll find them volunteering at campus events, leading tours and keeping current on curricula and trends in art and design by attending Art Center educational programs and special presentations throughout the year.

Both groups, organized outside the College, are key supporters of scholarships for Art Center Fine Art students, having provided support to hundreds of aspiring young artists over the years. PAA also provides critical support for the Alyce de Roulet Williamson Gallery, and the San Marino League continues its tradition of volunteering that was started with the opening of the Student Gallery on Hillside campus in 1976.

Why the strong affinity for Art Center?

“Our work with the College allows talented students the opportunity to develop their creative abilities and to share this talent with the world,” explains Charlotte Harrison, SML president.

"The cost of an education these days is out of sight,” adds Patty Zuber, PAA president. “One of the most rewarding aspects of part-nering with Art Center comes from knowing we are helping ease the lives of students so they can spend more time creating.”

San Marino League scholarship recipient Kristy Lovich uses her commute time as studio time. Currently in the works is 21 Stops, a zine designed around the Gold Line train schedule.

Read about Fine Art Chair Laurence Dreiband on page 34.

Re-designing the Movies:

How Art Center is Uniquely

Educating the Next Generation of

Filmmakers

by Rebecca Epstein

• 25

As befits a successful screenwriter (Rush Hour), novelist and, most recently, graphic novelist, Ross LaManna, chair of the under- graduate Film Department since 2006, has countless stories to tell. Many center on the program’s students, such as Dan Bartolucci FILM 10, who got a job on the graveyard shift at special effects house Lola right after graduating. Soon, he was creating complex special effects such as making Chris Evans small and skinny in Captain America, aging the lead actors at the end of Harry Potter and the Deathly Hallows Part 2 and making Bella look emaciated in Twilight Saga: Breaking Dawn Part 1. This fall, Bartolucci returned to campus to teach these techniques to students.

He also likes to tell about the day longtime industry executive John Tarnoff came to visit. At the time, Tarnoff was with DreamWorks Animation, where Art Center grads have frequently found a home. “He was interested in doing more stuff with us,” says LaManna. “He said, ‘You know what I like about Art Center Film? You guys understand that movies aren’t shot anymore, they’re designed.’”

Tarnoff had succinctly captured Art Center’s philosophy of filmmaking: visual storytelling. “Everything students learn ties in with that,” says LaManna. “Even with all the technological changes and new media stuff, the important thing remains being able to tell a good story visually.” Indeed, while today’s envi-ronment has provided more opportunities to novices, skills are still required to create a quality product, whether in film, TV or short-form works. “A good narrative. Working with actors. Telling a story visually. Those apply across the board,” says LaManna.

Based on his own experience as a young screenwriting student, LaManna decided to assemble a faculty comprised solely of industry professionals who teach part-time. “The instructors who gave me the most accurate entrée into how things work and the skills that will get you a career in the business were all working professionals,” he says. Of course, at any given time, one-third of the instructors are off working in the field, so the Department has to be very nimble. “Fortunately, we are not like a big university where you don’t have much flexibility.” The secret, LaManna says, is having a “very strong bench.”

For example, Directing 1 is taught by Bobby Roth, who started his career as a writer-director of critically acclaimed indie films and now has more than 70 network one-hour directing credits on shows like Lost and The Mentalist. “We had to move the class to Saturday morning because Bobby is always working.”

Ross LaManna

“The practical, how-to knowledge Bobby Roth’s students learn is informed by directing

experiences he had that very week.”

Natalija Nogulich, an actor who has had roles in Star Trek: The Next Generation, The West Wing, Red Widow and Suburgatory, and will next appear in the upcoming HBO biopic on Phil Spector starring Al Pacino, teaches Acting Workshop for Directors, in which she educates aspiring directors on how to get great performances

The Visual Storyteller

Act One:

Fade In:

During a break on the set of Man of Steel, the upcoming Superman reboot directed by Zack Snyder FILM 89, Jack Foley, a teen actor whose character in the film bullies a young Clark Kent before the two become friends, started asking questions. “I began talking with Zack about how he became a filmmaker, and the conversation led to film school,” Foley says. “I asked him about where he went, and he spoke very highly of Art Center.”

Like many others, Foley is an actor who wants to direct. And in Snyder he saw his college future. “I was pretty much set to go to a different film school, but after seeing Zack’s methods and the way he controlled his set, it was clear to me that I was working with a true artist. I started looking into Art Center.”

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Film education at Art Center has come a long way since Robert Peterson, chair of the graduate Broadcast Cinema Department since 1990, was one of the school’s first film students. In 1973, he and five other Advertising classmates convinced the College’s president to start the first filmmaking program specializing in directing television commercials. Within six years, graduates were winning CLIO awards. The program now emphasizes great story-telling and compassionate teamwork, regardless of genre. “We have no agenda,” says Peterson, who is writing a book on the program’s unique history. “Our students create movies, television, com-mercials, documentaries, videos and experimental works— they make their own choices. We welcome their new ideas.”

Art Center admissions have always been selective, and classes are still kept very small in both the graduate and undergraduate programs, because of the emphasis on collaboration. “It’s a con-servatory program, so students work together in teams and on each other’s projects and, by the time they graduate, they’ve helped to create many films,” Peterson says. Moreover, he adds, “We don’t want our writer/directors to think of themselves as lonely auteurs. If they respect other artists and welcome their skills, they’ll be collaborating like veteran filmmakers before they graduate.”

Erik Anderson was already a producer of feature films when he selected Art Center for his MFA, partly because of its legacy and professionalism. “I stood on the shoulders of guys who were there before,” he says, like Tarsem Singh FILM 90 (Mirror Mirror, Immortals, The Cell) and Michael Bay FILM 88 (Transformers, Armageddon).

While in school Anderson has developed a strong commercial reel, but it was during the making of a documentary in Peru, in collaboration with Art Center’s Designmatters’ Safe Agua Peru project, that he realized the depth of his technical training. For Hands in the Mist, which presents design solutions created by Art Center students to overcome water poverty issues, Anderson learned documentary shooting “on the fly”—and was shortlisted for a Cannes Young Director Award.

Like Anderson, Ellen Houlihan was working in the industry when she decided to return to school. For her, the efficiency of the graduate program was a big draw. “Art Center’s accelerated two-year MFA degree made the most sense in terms of time, money and independence afforded to student filmmakers,” she says.

Houlihan has been prolific at Art Center and is already winning awards, most recently a 2012 Cannes Young Director Award for a public service announcement about gay suicide that was praised by The Huffington Post. She adds that another reason she picked Broadcast Cinema over other MFA programs was that she wouldn’t have to choose a concentration in screenwriting, directing or producing; here, she was able to do all three. Finally, she cites TV veteran Victoria Hochberg’s Directing 1 class as offering training she didn’t see anywhere else, explaining, “Victoria provides a real-world simulation to teach us the art of collabo-ration and the rigors of meeting each day of production.”

They Set a Standard

Act Two:from actors. Students often say it’s one of their most challeng-ing classes. “But that’s what it’s going to be out there in the film biz—challenging!” says Nogulich.

“There is a mistaken presumption that acting is simple, just say the words and hit your mark,” says Nogulich, who has taught at Art Center since 2007. “The second erroneous presump-tion is that directors can get what they want from an actor by doing it for them. These misconceptions are shattered on day one of my class.”

Students also benefit from the expertise of Affonso Beato, ASC, renowned cinematographer (The Queen, Nights in Rodanthe, Love in the Time of Cholera), who in 2009 developed for Art Center a stereoscopic 3D cinematography program and lab, the first at any U.S. film school. He also teaches Advanced Cinematography, which includes preparing students for job interviews.

Beato admits that working with students makes him better at his craft. “Sometimes I can’t answer a question, so we’ll research the answer together,” he says. Drawing on his early background in computer science and mathematics, he and some of his students developed an iPhone and iPad app called SD3D that calculates best shooting distances for 3D films.

Beato heralds Art Center’s creative environment. “You’re immersed in visual design here,” he says, praising the frequent collaborations among film students with those in other design disciplines.

Affonso Beato

“In film, design is a collective art.”

Continued:

• 28

ART CENTER

artcenter.edu/IxD

Interaction Design: Educating students to think deeply about user experience, apply technology in creative ways and invent new approaches to how we interact with people, places and objects.

Now accepting applications New 

 Art Center 

 BS in IxD  at 

As we await the summer 2013 release of Snyder’s Man of Steel and the next great works from Michael Sucsy FILM 03 (The Vow, Grey Gardens) and other alumni filmmakers, LaManna and Peterson are convinced their students will continue to set new standards. “More and more, our filmmakers are now authoring their own works,“ Peterson says with a smile. “The future is bright for great storytellers who can direct.”

Ross LaManna

“People coming out of Art Center hit the ground running.”

“If they’re put on a set, they know what they’re doing,” LaManna continued. And if they aspire to direct their own projects, “we work hard to give them the wherewithal to do that. We give them a strong skill set and a sense of entrepreneurship, both of which are absolutely essential.”

Based on Snyder’s recommendation, after completing his work on Man of Steel Jack Foley visited Art Center. “When I toured the school, something became extremely clear to me: At Art Center I would become an artist. At any other school, I would become a guy who makes movies,” says Foley. “Art Center sees films as works of art. No other schools I looked at had that same view.”

Foley enrolled in undergraduate Film in September 2012.

Art Center Sees

Films as Works of ArtAct Three:

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TEDx Homerun An inspirational meeting of the minds took place on campus in June 2012, when 350 big thinkers from more than 50 institutions attended the first TEDx Art Center College of Design confer-ence. Featuring a diverse slate of A-list speakers on riveting topics ranging from oceanography and anthropology to human trafficking and responsible design, the event generated more than 50,000 Twitter impressions.

TED, the global foundation dedicated to “ideas worth spreading,” spawned TEDx, a local version modeled on the annual conferences and web lectures at TED.com. The aim of the independently organized TEDx events is to stimulate dialogue at a community level.

A year in the making, students Erik Molano GRPH 12 and Mariana Prieto PROD 12, built a case, found support and developed the TEDx Studio class to spread their message about the value of design for social impact. With guidance from faculty members Rob Ball and Petrula Vrontikis, a team of more than 40 students produced the successful day-long confab.

Following an exhilarating perfor-mance by soul violinist Lee England, Jr., Art Center President Lorne M. Buchman cited artists such as Beethoven, Keith Jarrett and Jackson Pollock in his presentation exploring improvisation through the relationship between making and knowing.

Don’t despair if you missed this thought provoking summit. All videos are online at artcenter.edu/tedxvideos, plus the word on campus is more TEDx events are in our future.

Board of Trustees Adds Magnificent SevenThis past academic year, seven new members joined Art Center’s Board of Trustees. With backgrounds as diverse as they are distinguished, our new board members are unified by the de-sire to build upon Art Center’s strength and stature in the world of art and design. It’s a role that not only keeps them up to date on the school’s people, programs and priorities, but allows them to champion the college in both their professional and personal worlds. By stewarding its assets, they help to ensure that Art Center remains first choice for students, parents and donors.

Art Center’s new trustees provide their distinct knowledge, expertise and creativity to strengthen the College now and into the future.

Ronald I. Bension is CEO of House of Blues Entertainment, a Live Nation Company. He is focused on consoli-dating the brand’s 34 venues into a national platform. While chairman and CEO of Universal Studios Recreation Group, he founded the Discover A Star Foundation, a non-profit organization that provides scholarships to high school graduates.

Wesley A. Coleman is the former executive vice president and chief human resources officer at The Walt Disney Company where he oversaw employee development, compensation and benefits for Disney’s more than 125,000 employees worldwide. Prior, he was vice president of global human resources at Nike, Inc. He serves on the board of the Los Angeles Urban League and assists the Jackie Robinson Foundation, the United Negro College Fund and other organizations dedi-cated to youth and education.

Linda M. Griego is president and CEO of Griego Enterprises, Inc., a busi-ness management firm she founded in 1986. Her extensive background combines business with government and includes an appointment as deputy mayor of the city of Los Angeles, as well as serving as president and CEO of Rebuild LA and the Los Angeles Com-munity Development Bank. A graduate of UCLA, she is the recipient of its high-est honor, the UCLA Medal.

Charles Floyd Johnson is an Emmy Award–winning producer with

TEDX ORGANIZERS ERIK MOLANO AND MARIANA PRIETO

SOUL VIOLINIST LEE ENGLAND, JR.

PHOTOS BY JUNE KOREA

ART CENTER PRESIDENT LORNE M. BUCHMAN

view

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many notable projects, among them: NCIS and JAG, for television, and the feature film, Red Tails, for Lucasfilm and Twentieth Century Fox. He is a champion of the Samburu Project, which brings water to thousands of people in Kenya’s Samburu District. A graduate of Howard University, he was honored with its Outstanding Alumnus award.

Molly M. Morgan is the vice presi-dent of private banking at J.P. Morgan where she advises clients on a broad range of wealth management matters, including financial planning, asset allocation, tax strategies, trust and estate planning, and charitable giving. She serves on the board of the Los Angeles Fire Department Foundation.

Bonnie R. Nash is the founder of Bonnie Nash Consulting, which provides strategic planning, team building, executive coaching, human resources support and career consult-ing services to organizations and individuals. She is a member of the World Presidents’ Organization and has been a presenter at the Young Presidents’ Organization and Los Angeles Junior Chamber.

Charles E. Nearburg is president and owner of Nearburg Producing Company, a private oil and gas explo-ration company, which has received two environmental awards from the Bureau of Land Management. A pas-sionate car racer, he has driven in the LeMans and Daytona 24-Hour Races and set a new land-speed record at the Bonneville Salt Flats in a car he designed and built.

Inspiring Sneaker Design from Pasadena to PortlandIn May, a group of 20 Art Center stu-dents took a road trip from Pasadena to Portland, Ore., for a deep dive into the footwear industry.

For 14 long days and many late nights, students were in residence at the Old Town/Chinatown studio of PENSOLE Footwear Design Academy founded by D’Wayne Edwards, the former design director for Nike, Inc.’s Jordan brand. With industry profes-sionals guiding them and providing valuable feedback, the students worked on intentionally unorthodox shoe designs.

Edwards, an Art Center adjunct faculty member, challenged students to

“design something that’s not in stores” and to “think about things other than what’s common.”

The intensive design workshop culminated with a presentation to foot- wear industry professionals, many of whom were alumni. Innovative designs included footwear for everybody from busy moms and roofers to trapeze art-ists, break dancers and paratroopers.

Industry reviews were extremely positive. Alumnus Al Van Noy PROD 87, vice president at Adidas AG, told one local reporter that the Art Center students did the same things he’s tasked to do at Adidas, but did so in ways that were surprising. He said they’ve stretched each brand’s bound-aries. “It’s that kind of outside-the-box approach that appeals to us.

“Growing up, my dream was to be- come a footwear designer, but I could not afford to attend design school,” Edwards remembers. He kept his dream alive by working at L.A. Gear as a temp, where every day he dropped his shoe designs into the suggestion box. The company president noticed this motivated young man with hundreds of ideas and decided to give him a chance. Edwards says, “I created PENSOLE to provide students the opportunity I never had.”

PENSOLE’s mission is to give talented young design students — regardless of socioeconomic back-ground — an opportunity to learn from the industry’s best and to provide the industry with a farm system for the next generation of footwear designers.

Karen Hofmann, chair of Product Design at Art Center, points out that this Pasadena-Portland educational partnership represents her department’s commitment to building its concentra-tion in wearables and soft goods — an area of growing interest for Art Center

(L> R) TRUSTEES CHARLES FLOYD JOHNSON, MOLLY M. MORGAN, CHARLES E. NEARBURG AND RONALD I. BENSION

PHOTO BY JENNIE WARREN

(L > R) JANENE LARSON, BUSINESS COACH; JENNIFER NOLFI, PORTLAND DEVELOPMENT COMMISSION; FRED FEHLAU, ART CENTER PROVOST; KAREN HOFMANN, PRODUCT DESIGN CHAIR; D’WAYNE EDWARDS, PENSOLE FOUNDER PHOTO BY CATHY CHENEY

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and an industry in which the College’s alumni are leading the way. This colla-borative program would not have been possible without generous support from Adidas, Nike, Under Armour, Vans, Disney Consumer Products and OluKai, all companies that currently employ Art Center graduates.

Edwards encouraged each partici-pant to reach out and mentor two younger individuals to keep the chain going. “It just keeps spreading, and we have this culture of like-minded indivi-duals that this industry needs,” he said. Edwards also gave each student his direct phone number and personal email.

Plans are underway to host Edwards and his team on campus soon. Plus, the College has committed to offering the Portland opportunity to students again in 2013.

Faculty Share the Knowledge CapitalWhat special skills or knowledge does one need to bring into an Art Center classroom? What challenges are inherent in teaching at one of the world’s fore-most art and design schools? How can faculty best utilize their professional connections to benefit Art Center students? Shortly after the launch of Art Center’s strategic plan, Create Change, President Lorne M. Buchman encouraged a core group of faculty to host a conference on the profound issues of teaching at Art Center. The faculty put their heads together and

decided to raise the bar with an ini-tiative they’ve branded “Faculty Commons.” Instead of a single confer-ence, they’ve envisioned a series of professional development and research opportunities for faculty. And to best serve their audience, the workshops and symposia will be based on emergent themes identified by faculty interests and discussions.

The first such symposium took place this past fall with guest officiate Glenn Adamson, Deputy Head of Research and Head of Graduate Studies at the Victoria and Albert Museum, where he leads a graduate program in the History of Design. The day included hands-on workshops in which faculty brainstormed around issues related to technology and craft, the relationship between thinking and making, and moving beyond Art Center’s transdis-ciplinary studio model.

“Lorne has given us an amazing opportunity,” said Sean Donahue, who teaches a number of Media Design,

Graphic Design and Humanities classes at the College. “Faculty Com-mons allows us to develop a sense of community and share in the enormous knowledge capital of the smart and talented people who teach here.”

With teaching-focused events taking place each term and a website being developed to house documen-tation and ongoing conversations, faculty members will have a chance not only to discuss teaching and resources, but also to engage with one another as professionals who are eager to educate the next generation of artists and designers.

Pushing the Boundaries of PackagingEver wonder what makes you choose one brand off the grocery store shelf over another? Experts agree packag-ing plays a big role in the consumer decision-making process.

Esko, considered the global leader in packaging product software, recently donated multiple user licenses of industry-leading Studio and ArtiosCAD technology to Art Center. The gift marks the Belgium-based firm’s first donation to a design college and underscores the pivotal role graphic designers play in package and brand development.

“With these new tools, students will develop a comprehensive under-standing of the workflow from start to finish,” says Gerardo Herrera, Art Center’s director of packaging.

Working closely with fellow instructor Dan Hoy, Herrera designed a curriculum that gives students a rock-solid knowledge base about the various properties of the different materials used.

During a special workshop last summer, students explored the different types of packaging applica-tions that this software can render, such as stand-up drink pouches, candy bar wrappers, snack bags—even diaper bags. They learned how to create a bag from scratch, taking full advantage of Studio’s tools palette, including pan/rotate, zoom, fold line, mesh, puller, freeze, align graphics and visualization, allowing settings for contents of air, liquid, material stiffness and rounding.

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STUDENTS LEARN SHOE DESIGN IN PORTLAND.

PHOTOS BY CATHY CHENEY

“Designers can quickly visualize what they create for the brand owner, making changes on the spot if neces-sary,” explains Herrera. “Now, when students learn how to make a box, they can see it on the computer using the Studio Visualizer tool in real-time, add specialty finishes and see how that impacts their designs.”

College Welcomes New Advertising and Interaction Design ChairsTwo new department chairs are bringing their distinctive insight and expertise to Art Center’s already robust collaborative cross-disciplinary community.

User-experience pioneer Maggie Hendrie is leading the College’s new Interaction Design Department —created as part of the Create Change initia-tive — in which students learn to think deeply about user experience, apply technology creatively and invent new approaches to interaction and design.

And industry leader Gary Goldsmith ADVT 81 is now heading up Art Center’s Advertising Department. The program has been at the heart of the College since influential adman Edward A. “Tink” Adams founded the school in 1930, and Goldsmith is positioned to propel the field into its ever-evolving future.

Hendrie is the principal of Maggie Hendrie Design, a business solution firm that provides apps, social media campaigns and online tools and marketing for Fortune 500 companies such as PepsiCo, Mattel and Toyota

Motor Company. In 2004, she founded Sony Pictures Entertainment’s User Experience Competency Center, where as director she worked with Sony divi-sions worldwide to integrate usability, information architecture and interaction into the company’s devices and cross-platform projects.

“Maggie has a proven track record of weaving cross-departmental, multi- disciplinary programs that leverage human-centered design,” said Provost Fred Fehlau on Hendrie’s appointment.

“We’re confident in her ability to drive the institutional, technical and design factors needed to deliver those skills and vision to our students.”

She received her MA in Liberal Arts from Edinburgh University, her MS in Communication and Information Sciences from the Nouvelle Sorbonne University in Paris and her Diplôme D’Etudes Approfondies (DEA) in Multi-media Design and Communication from Paris Diderot University.

“Interaction designers must be prepared not only for multidisciplinary projects and work environments, but for a medium that can range from gestural sensor-driven networks to gameplay to wired cities,” said Hendrie.

“I am thrilled at the opportunity to join a world leader like Art Center to edu-cate the next generation of visionaries in this field.”

New Advertising Chair Goldsmith is the co-founder of Underhead, a network of creative resources and companies that brings together talent in every discipline, including advertis-ing, digital and social media, package design and film.

“Historically, Art Center’s program has played an important role in shap-ing the advertising industry,” said Fehlau of Goldsmith’s appointment. “Today, much of that industry has changed, and Gary has led that change.”

Goldsmith graduated with honors from Art Center in 1981 with a BFA in Advertising. He began his career at Doyle Dane Bernbach (DDB) in New York, working on campaigns for Volks- wagen, IBM and Hershey. In just four years, he became the company’s senior vice president and creative group head. In 1987, he co-founded Goldsmith/ Jeffrey, an agency that produced award-winning work for clients such as J.P. Morgan, ESPN and Barneys New York. During his career, Goldsmith also held the positions of co-creative director of the Chiat / Day New York office, chair-man and chief creative officer of North America for Lowe Worldwide, and chief creative officer of North America for Young & Rubicam.

“The landscape of advertising has changed drastically, and in five years most of the current sources for jobs won’t exist,” said Goldsmith. “But I believe Art Center, with its strong parallel programs in entertainment, film, photography and environmental design, is positioned to build not only the first truly modern advertising program in the world, but one that will prepare our students to tap into broader sources for careers than ever before.”

Both Hendrie and Goldsmith came to the College as the result of exten-sive international searches conducted by committees of faculty, alumni, students and staff.

NEW ADVERTISING CHAIR GARY GOLDSMITH AND INTERACTION DESIGN CHAIR MAGGIE HENDRIE

PHOTOS BY CHUCK SPANGLER

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A Legacy 40 Years in the MakingAfter more than four decades of dedi-cated service to Art Center and its students, Laurence Dreiband, chair of the College’s undergraduate Fine Art Department, announced in early June 2012 that he would be retiring at the end of the year.

“In 1970, I began teaching at Art Center, and two years later I became the youngest department chair,” said Dreiband in his announcement to the Art Center community. “I believe that I’m now the oldest, and while I would not have chosen growing older, it is, as Woody Allen put it, ‘better than the alternative.’”

Dreiband leaves the College with an impressive roster of accomplishments: A robust program with plans for future growth; an impressive list of distin-guished faculty and alumni; plans for Artmatters, a new area of emphases in public art and social engagement; and, most significantly, a dedication to the importance of the fine arts in the life of the College and of the cul-ture at large.

“I am deeply grateful for all that Laurence has contributed to us through- out these years and saddened to think of an Art Center without him,” said Provost Fred Fehlau. “We appreciate the substantial contributions he has made to our students and alumni, and to the content and pedagogy of all of Art Center’s degree programs.”

After the announcement was made, emails from alumni poured in. Rene Martinez FINE 10 said Dreiband’s leader- ship provided him with the under-standing “to navigate through this strange and beautiful world.” Michel Bernstein FINE 05 recalled the first day of Dreiband’s Critical Thinking course, which took place the day after the Sept. 11 terrorist attacks, in which he presented the tragedy as a way “to pose the questions of who or what we were.” And alumnus and former faculty Agustin Garza GRPK 81 wrote to Dreiband, “I had the privilege to have

you as an advisor during my post graduate studies. Not only did I learn from you as a Fine Art student, but you also inspired me to be a better teacher.”

“I have made some of the best friends of my life at Art Center, and I thank you all for the many years of being able to work with you,” said Dreiband in his announcement. “I am grateful to all of you for helping make my career as an educator at Art Center successful and so personally rewarding.”

For an in-depth interview with Dreiband, visit the Dotted Line blog at artcenter.edu/dottedline.

FINE ART CHAIR LAURENCE DREIBAND (L) TALKS WITH ARTIST RICHARD SERRA ABOUT HIS WORK IN THE ART CENTER SCULPTURE GARDEN IN 1982.

DREIBAND (FAR R) WITH INSTRUCTOR JAN TUMLIR (3RD FROM L) AND FINE ART STUDENTS ON A GRAND TOUR AT THE 52ND VENICE BIENNALE IN 2007

GRAD INDUSTRIAL DESIGN FORMULA E RACE: (L > R) STAN KONG PROD 83, FACULTY MEMBER AND LEGACY CIRCLE FOUNDING CO-CHAIR; SUSAN CALDWELL, ART CENTER SUPPORTER AND PRESIDENT, GIESEN TRUST; WITH SCOTT WARD OF THE ARMORY CENTER FOR THE ARTS.

TEDX ART CENTER COLLEGE OF DESIGN CONFERENCE: PAINTER AND SCULPTOR VICTOR HUGO ZAYAS ILLU 86.

MARK ARBEIT PHOT 79, GEORGE HOLZ PHOT 80 AND JUST

LOOMIS PHOT 80 ON THE OPENING NIGHT OF THREE

BOYS FROM PASADENA: A TRIBUTE TO HELMUT NEWTON

EXHIBITION AT THE WILLIAMSON GALLERY.

STUDENTS CELEBRATE AT GRADUATION SPRING 2012.

spottedRecent events on and off campus

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CITY OF PASADENA SPONSORED PROJECT FINAL PRESENTATION: (L > R) GRAPHIC DESIGN CHAIR NIK HAFERMAAS, SENIOR VICE PRESIDENT GEORGE FALARDEAU, PROFESSOR GLORIA KONDRUP GRPK MFA 93, CITY TRANSIT MANAGER VALERIE GIBSON, PASADENA MAYOR BILL BOGAARD.

THE ECOMOTORS SPONSORED PROJECT GUEST JUDGES: (L > R) JACK TELNACK TRAN 58, FORMER CHIEF OF DESIGN AT

FORD MOTOR CO.; WAYNE CHERRY PROD 62, FORMER CHIEF OF DESIGN AT GENERAL MOTORS; JAY LENO; AND TOM GALE,

FORMER CHIEF OF DESIGN AT CHRYSLER.

4 HOURS SOLID SPRING 2012: HOWARD AND CHERYL KAUFMAN

WITH AVERY AND FRED JOHNSON, ART CENTER PARTNERS.

4 HOURS SOLID SPRING 2012: ART CENTER PARTNERS CO-CHAIRS LINDA BROWNRIDGE AND BETTY URBAN.

HYUNDAI SPONSORED PROJECT FINAL PRESENTATION: TRANSPORTATION DESIGN STUDENT JIYEON JENNY HA.

HYUNDAI SPONSORED PROJECT FINAL PRESENTATION: (L > R) FACULTY MEMBER GEZA LOCZI PROD 65 WITH OSAMU SHIKADO TRAN 86 AND STUART MACEY, BOTH FROM HYUNDAI.

CREATIVE TRAJECTORIES

ALUMNI SYMPOSIUM AT BIKINI

BERLIN: GRAPHIC DESIGN

STUDENT ROBERT WILMANS.

CREATIVE TRAJECTORIES ALUMNI SYMPOSIUM AT BIKINI BERLIN: ART CENTER PRESIDENT LORNE M. BUCHMAN WITH PARTICIPANTS (L > R) PRODUCT DESIGN CHAIR KAREN HOFMANN PROD 97; JOE TAN PROD 94, INCASE; PONTUS FONTAEUS TRAN 93, PEEFDEE; AND FLORIAN DENGLER COMM 94, METADESIGN. MARKUS DIEBEL PROD 94, INCASE (NOT PICTURED).

CREATIVE TRAJECTORIES ALUMNI SYMPOSIUM AT BIKINI BERLIN: CLAUDIO PRISCO COMM 96 (IN HAT) WITH MICHAEL SANS PROD 97 AND OTHERS.

NONPROFIT ORG.

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