Graphic Design + Digital Media with Action Sports Emphasis

An introductory course exploring the art and architecture of Mesoamerica from the rise of the Olmec in 1500 BCE to the Spanish conquest of the Aztec capital of Tenochtitlan in 1521, Mesoamerican Empires will focus on how changes in visual culture have reflected larger religious and political transformations in Mesoamerica. Issues of cultural memory and myth will be examined to understand indigenous conceptions of art, history, cosmology, and social hierarchy. Forging links with the present day, students will learn to identify and contextualize Mesoamerican iconography in contemporary media including the creative expression of lowrider culture, tattoos, fine art, and fashion. Students will be required to demonstrate their understanding of the material through visual (art) projects, a formal writing assignment, and their participation in class discussions. No prerequisites.

This course is an exploration of art and visual culture from the Asian continent. Focusing on art works as historical, cultural, and social documents, we will examine how art was commissioned, collected, and used by royalty, the elite, popular audiences, and religious communities in both rural and urban settings. Different themes discussed include art as an instrument of power and propaganda, as a tool for social and religious ritual, an expression of status and prestige, a medium for social protest, as well as a product for the marketplace. Beginning with Bronze Age objects for ritual purposes, subsequent artforms include scroll paintings in the Song Dynasty, women’s painting and printed books, Japanese secular emaki scrolls and ukioy-e art, the luxury of Mughal art in India, and true-view landscape painting in Korea. Students are required to do class readings and engage actively in class discussion, complete two papers, create a final project, and make a final presentation. No prerequisites.

If consciousness is shaped by our history, then where are we, collectively, if we’ve lost faith that a shared historical commonality among cultures ever existed? To the people who thrived in the strange and beautiful empires of ancient Egypt, Greece, and Rome, religious and cultural differences found in one’s neighbors weren’t unusual, confusing or frightening—they were part of everyday life. In short: normal coexistence. In the class Egypt, Greece, Rome—we’ll explore the commonalities and shared experiences found among these three remarkable civilizations, as well as follow the cultural fault lines exploited by those in power which eventually forced these empires to dissolve. Together, we’ll explore three millennia of artefacts, objects, architecture, writings, as well as cultural and religious practice to see how these civilizations evolved, ran alongside one another, then overlapped and overcame one another to lay the foundations of modern western society. Through lecture, images, discussions, essays, and close readings, students will learn to identify, decode, understand and describe artworks and objects from the past, translating them from visual to verbal and textual language. In addition, in an effort to gain insight into the ancient state of mind, students will reconstruct a piece of history with a hands-on laboratory project and a small, original artwork of their own. No prerequisites.

The Middle Ages were a time of knights and ladies... or maybe brutal Viking warlords... or a clash of civilizations between Christians and Muslims... and maybe there were dragons? A lot of what we “know” about the medieval world comes from fantasy, pop culture, and from old nationalist scholarship that mostly invented origin myths. So, how can we know what the Middle Ages were really like? In this class, we’ll go back and try to get a more accurate picture by looking at things medieval people made: manuscripts, sculptures, buildings, weapons, clothing, etc., all in tandem with reading primary sources by the people who were there. Starting with the collapse of the western Roman Empire, we will uncover a different picture of how two related cultures arose out of the wreckage of the ancient world: Christendom and Dar al-Islam. Along the way we’ll learn that the “barbarians” weren’t that barbaric, that some Vikings converted to Islam, that trade and cooperation across the Mediterranean were far more common than Crusades, and that the medieval world was more diverse, cosmopolitan, and queer than you may have been led to believe. No prerequisites.

Nature in Art explores the rich and varied traditions of artistic expression unique to the regions of Japan, Korea, and Tibet, from prehistoric indigenous practices through the mid-19th century. Looking closely at Japan, the Korean renaissance, and the coded art of Tibetan Buddhist culture, we will uncover the distinct artistic heritage found in each, noting particularly the sharing and transmission of art practices and ideas as they cross geographical and cultural boundaries.
Working chronologically, this course will identify intersections of spirituality and nature, then examine artistic expressions of such concepts through lacquer, ceramic, ink, paper, stone, bamboo and ivory, among other media. Both two- and three-dimensional art forms are considered, from calligraphy, wood-block prints and landscape painting to festivals, garden design, poetry, and tea ceremonies. The objects and sites studied in this course will reflect how concepts of beauty and aesthetics are achieved through the practice of “harmony, respect, purity, and tranquility.” The course is conducted as a hybrid seminar-lecture style course, with instructor led lectures and video, student presentations, research, writing, culinary experiences, as well as hands-on exploration of the traditional processes of historic art production in these regions. This class requires a visit to the USC Pacific Asia Museum to see art in person from each of the regions studied in this class. No prerequisites.

People often wonder exactly when, throughout history, women first started to become active in society? Of course, the answer is: Always. Even though women’s efforts have been overshadowed by that of their male contemporaries in the chronicling of official histories, women have always participated in every facet of life, from rich to poor, north to south, east to west, and from the ancient period to the present. In this course, we will examine the lives and creative pursuits of the many women who contributed to the arts, sciences, and humanities throughout history, particularly focusing on artists & craftspersons, writers & poets, healers, pharmacists, natural philosophers, and rulers, with a few warriors included for good measure. Students will conduct close readings, originate research, formulate short essays, and in an effort to gain insight into the state of mind of historical women, reconstruct a piece of history with a hands-on laboratory project and a small, original artwork placing themselves in the environment of a chosen historical female. Prerequisite: AH210, or one course from the Ancient Civilizations category. This course can be taken concurrently with one class from the Medieval Worlds in Motion category. 3 units.

“Force yourself to imitate Michelangelo in everything.” These were the words expressed by Michelangelo’s biographer to a remarkably self-aware generation of artists in 16th-century Florence, Rome, and Venice. However, whether rival artists wanted to, or even imagined they could succeed in imitating Michelangelo’s work is another question—one among many we’ll explore in The Age of Michelangelo, 1450-1550. In consultation with a range of visual, historical, and literary materials, we’ll delve into the spirit of the age, looking at drawing, painting, sculpture, furniture and garden design, food, weaponry, architecture, and urban planning, as well as people. We’ll tap into the players and personalities of the times—Leonardo, Giorgione, Raphael, Sofonisba Anguissola, Titian—as well as Isabella d’Este, the Della Rovere, and the Medici families who sought to shape their immediate world through power, imagination, and the artistry of their times. Students will conduct close readings, originate research, formulate essays, and in an effort to gain insight into the Renaissance state of mind reconstruct a piece of history with a hands-on laboratory project and a small, original artwork of their own. Prerequisite: AH210, or one course from Ancient Civilizations category (AH100 series). This course can be taken concurrently with Medieval Worlds in Motion category (AH200 series).

For centuries, earthly creatures, charmed animals and otherworldly beings conjured by artisans, magicians, folklorists, natural philosophers, and physicians, have inspired both wonder and delight as well as revulsion, alarm, and terror in the hearts and minds of otherwise thinking persons. Considering beasts and beings of all sorts, both earthly and divine, this course seeks to investigate the origin stories of such creatures and inquire as to what motivations compel an individual or society to conjure such creatures. From the Classical World to Medieval Scandinavia, from the Americas to Slavic Europe, this course explores how art and monstrosity intersected in the cultural imagination to both delightful and devastating effect. In consultation with a range of visual and literary primary materials, including the Great Chain of Being, the Malleus Maleficarum (the Witches Hammer), and Della Porta’s How We May Produce New and Strange Monsters, students will conduct close readings, originate research, formulate essays and create original artwork of their own in an effort to gain insight into earlier states of mind as well as open avenues into wholly new creations. All readings for the course will be in English, although international and graduate students may be asked to give additional reports on texts written in other languages.

This course examines the emergence of graphic design and the professional designer from 1800 C.E. to the present. Continual conceptual and technological revolution is the essence of this subject and the theme of this course. Required for Graphic Design majors.

Los Tres Grandes explores the Mexican Muralist movement of the 1920s from its beginnings under the post-Mexican Revolution government to its present-day influence on Chicanx and Street artists. Utilizing a curricular framework centered on Los Tres Grandes (the big three), Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros, our studies will then expand to include further influential figures such as Frida Kahlo and Rufino Tamayo among others. Students will be required to demonstrate their understanding of the material through visual (art) projects, a formal writing assignment, and participation in class discussions. Prerequisite: One course from Ancient Civilizations category (AH100 series) and one course from either Medieval Worlds or Renaissance Worlds in Motion category

This course examines a diverse array of art created by different ethnic groups in West Africa from pre-colonial through the 19th century and beyond. Through the lens of both spiritual and cultural traditions, we will consider a wide range of styles and materials, and ask how meaning is derived from objects and practices, keeping in mind particular challenges that emerge when studying art that is both permanent and impermanent. The significance of oral traditions will be studied, as well as the roles of ancestor spirits, mythical creatures, divination and initiation rites, and how music, dance, and masking function in establishing power, status, political, and social conventions. Objects created exclusively for performative and ritual uses, art in service to royalty, sculpture, utilitarian objects, architecture, performance, and the body as subject and site of adornment will form the core of our studies. Materials studied will include metal, wood, textiles, mud, ivory, beads, bone, dung, and blood/bodily fluids. While important, this class does not intend to cover present-day political crises, border disputes, or changing social constructs in West Africa. This course is conducted with instructor led lecture, film, guided reading and discussions, student presentations based on independent research, and other exploratory exercises. A visit to the UCLA Fowler Museum is required for this class. Students will experience textile creation and the development of personal symbolism in a hands-on project. Prerequisite: One course from Ancient Civilizations category (AH100 series) and one course from either Medieval Worlds or Renaissance Worlds in Motion category (AH200/AH300 series).

This course will examine the relationship between visuality and technology as expressed by photographers of the 19th- and 20th-centuries. Materials and readings for the course will focus on the roles and development of photography primarily in India, Afghanistan, China, and Japan, and the alterations it engendered in the perception and depiction of the world. We will examine the use of photography in the service of journalism and news reporting, ethnographic studies and geographical awareness, science, propaganda, tourism, entertainment, and of course, art. Beginning with Western photographers’ images of a distant “Orient,” this course will conclude with the uses of photography in contemporary Asian art, looking particularly at themes of national and personal identities as well as commentary on traditions. Students are required to do class readings and engage actively in class discussion, complete two papers, submit one individual project related to the course apparatus, and make a final presentation. Projects deriving from other time periods or regions are welcome, for example, photography from Imperial Russia or the Ottoman Empire. Prerequisite: One course from Ancient Civilizations category (AH100 series) and one course from either Medieval Worlds or Renaissance Worlds in Motion category (AH200/AH300 series).

Los Angeles, not known for being a bastion of either culture or liberalism during the early twentieth century, was—for a time—both a cradle of high-modernism and a refuge from the charnel house of European fascism. Icons such as poet and playwright Bertolt Brecht, Marxist philosopher Theodor Adorno, noir filmmakers Fritz Lang and Billy Wilder, composers Arnold Schoenberg and Igor Stravinski, novelists Thomas Mann and Aldous Huxley, and architects Richard Neutra and Rudolph Schindler, many of whom had fled the Nazis, made their homes in Los Angeles. In this course, we will examine the lives and major works of the many refugees and exiles who transformed LA’s intellectual and aesthetic culture in the 1940s, as well as look closely at three critical aspects of their enduring legacy. First, the transnational exchange of aesthetic and intellectual history between Europe and the United States; Second, the effects of fascism on aesthetics and its implications; and Third, the degree to which the creative output of European émigrés provided survival strategies in the wake of such genocidal and illiberal ideologies. What, in other words, can we glean from Brecht’s poetry, from Adorno’s “reflections from damaged life,” from Fritz Lang’s deeply expressionistic noir films, from Huxley’s Brave New World? Through the consumption of text and images representing this history students will create a project utilizing this aesthetic and intellectual history of art (and artists) as a means of strategizing survival in today’s climate. Prerequisite: One course from Ancient Civilizations category (AH100 series) and one course from either Medieval Worlds or Renaissance Worlds in Motion category (AH200/AH300 series).

Since 1954 when the Supreme Court handed down its decision in Brown v. Board of Education, the people of the United States have been engaged in a series of “culture wars” concerned primarily with identity—particularly race and gender—and a grappling with its morally ambiguous past. This deep and alienating sense of polarization and clashing of identities—some voluntary and others forced upon us—has only intensified over the years, coming to an explosive climax in the chaotic and tragic years of 2020-21. Everything from the anti-mask movement and “cancel culture” to the fate of Confederate Statues and defunding the police falls under the rubric of a longstanding, and increasingly tribal culture war in the United States. In this course we will look at the broad historical context of the 1960s from which these battles emerged and trace them through the present. In doing so, we will pay close attention to the ways in which the expansion of rights, freedoms, and liberties for historically marginalized groups has elicited conservative reactions seeking to roll back those gains through an often sectarian vision of American culture and history. This course will focus on flashpoints or sites of contestation—Roe v. Wade, the Oklahoma City Bombing, the rise of “Alt-Right” groups such as the Proud Boys, recent controversies about “Big Tech” censorship, the fate of civil rights, Black Lives Matter protests, and the violent denouement of the Trump Administration. Students will produce written responses to the readings and also formulate a final project determining the role of art and the artist in meeting this particular historical moment. Prerequisite: One course from Ancient Civilizations category (AH100 series) and one course from either Medieval Worlds or Renaissance Worlds in Motion category (AH200/AH300 series).

This course will introduce students to current theoretical and real-world applications of exhibition design operating today in museums, galleries, and contemporary art spaces, both real and virtual. Through weekly in-person exploration of cultural sites in and around Orange County and Los Angeles, students will observe and critique aesthetic and practical decisions made by professional curators and exhibition designers, with particular emphases on structural layout, cultural themes, the curation and arrangement of objects, and how artworks interact with one another in outdoor and indoor spaces. In doing so, students will sharpen their perceptive skills, strengthen their discourse specific to the fields of art production, curation, collecting, and museum studies, and pursue theoretical examples of design brought to life within the rich artistic landscape of Southern California. Students produce written journal entries, participate in discussions, produce directed reading responses to museum catalogues, articles, and other didactic material, as well as participate in oral presentations and collaborative hands-on projects. Prerequisite: One course from Ancient Civilizations category (AH100 series) and one course from either Medieval Worlds or Renaissance Worlds in Motion category (AH200/AH300 series).

Set primarily in Paris, this course traces the development and public reception of modern
art in Europe from the mid-19th century through the early years of the 20th century. The
main focus of this course is the Post-Impressionists, artists working in diverse styles
during the years 1880-1900. In order to better understand the radical approaches to art
undertaken by these artists, the course will include a brief investigation of the cultural,
political, and artistic trends which led up to the period known as Post-Impressionism. Thus,
students will gain familiarity with the major art movements of the 18th and 19th centuries:
Neoclassicism, Romanticism, Realism, and Impressionism. This course will be framed by
the theories of “bohemian” poet Charles Baudelaire, whose close friendship with many
artists helped shaped the trajectory of modern art. Encircled by other likeminded writers,
these artists spurred the creative process and championed one another. Van Gogh,
Toulouse-Lautrec, Munch, Mucha, and Klimt are among the artists examined in this class.
Through close analysis of the artists’ own words, students will explore the psyche of the
modern artist as they sought to create an expressive art imbued with feeling, originality,
and innovation. This course requires a museum visit, independent research, analysis of
primary sources (artist letters and essays), and the creation of an artwork related to course
content.

This course investigates principles of pictorial organization through the relationship of composition and color of visual elements. This includes the study of formal qualities of art; line, shape, value, texture, rhythm, space, balance, proportion, movement, unity, harmony, and tension. Studies of color address properties of hue, value, and intensity, as well as color interactions of harmony, discord, and simultaneous contrast. Special emphasis is given to concepts necessary for visual communication, regardless of media, but this course will utilize digital tools as a way to explore the concepts efficiently and to prepare students for contemporary expectations of commercial art and design professions. Primary software: Adobe Illustrator and Adobe Photoshop.

This foundation course explores basic graphic design methods, processes, techniques, and formats. Assignments introduce elements, media, and principles of graphic design from historical and contemporary perspectives and emphasize visual representation aimed to communicate ideas and non-visual content. Students will use Adobe's Creative Suite 3 (CS3) software.

This lecture and studio course introduces principles of creative visualization with the use of the computer and pixel based imaging software. Comprehension of key terms and concepts are taught, with projects designed to develop practical software skills and aesthetic development. Emphasis is placed upon working with imagery from digital cameras, scanners, and generating original computer graphics. Topics include photo-retouching, digital drawing and painting, digital montage, color modes, and preparing files for printing and web based display. Primary software: Adobe Photoshop.

This lecture and studio course is focused on the use vector based imaging software for drawing and design. Comprehension of key terms and concepts are taught, with projects designed to develop practical software skills and aesthetic development. Emphasis is placed upon use of vector drawing tools, stylization techniques, and integration with pixel graphics. Topics include simplification of form, technical drawing, pattern creation, and perspective studies. Primary software: Adobe Illustrator.

This course will focus on an introduction to 3D. Students will learn the key features of modeling, animation, lighting, texturing, physic dynamics and camera technique through Autodesk Maya.

This course is an introduction to the process of creating motion graphics.The core applications used in this course are Adobe After Effects, Premiere, Photoshop, and illustrator. Students will also be creating video content to use in their motion graphics work.

This course covers the history, theory and practice of letterforms and typography they apply to other areas of design, graphics and visual communication. Projects cover principles of typography, letter structure, typeface selection, fundamentals of digital type, and typographic layout.

This foundation level drawing course is for graphic design students to gain competency in traditional basic of drawing, including line, shape, tone, and space. Drawing from observation to depict form with accurate proportion and perspective is practiced, as well as creating diagrams to visually communicate in ways that are not directly observable.

LCAD Design students will be required to successfully complete a portfolio review within their sophomore to junior in order to continue in the design program. This review is mandatory and is designed to assess your strengths, weaknesses, and academic readiness to move forward in the program.

This course covers user interface and user experience principles, processes, and application. Students will learn the basic skills of UI/UX in order to design digital products such as mobile apps and responsive websites. The goal of the class is to understand and apply the product development steps; starting with research, concept validation, user-focused designs, to file preparation for web developers/engineers. The course will introduce industry-approved tools and programs.

This is an introductory course for the design major requiring conceptual, perceptual, manual, and computational skills to meet studio research into the history of letterforms and layout design. Projects explore compositional and structural aspects of letterforms, as well as various kinds of text layouts and their optical and interpretational effects. Computer applications: Adobe Photoshop, Adobe Illustrator, and Adobe InDesign.

This is an introductory course for the design major. Studio practice explores the use of hierarchy, form, conceptual thinking, visual representation and interpretation, and the elements of communication. Projects address various essential graphic design formats: logotypes, promotional items, editorial design examples, announcements, and a variety of visual styles. Computer applications: Adobe Photoshop, Adobe Illustrator, and Adobe InDesign.

This intermediate course explores the underlying principles and elements of letterforms. Also explored are their usage, various grid-based layout systems, and typographic styles. Assignments emphasize visual representations of complex information through various editorial design formats, and are conceived as a means by which to analyze the semiotic function of text and its aesthetic and phenomenal qualities. Computer applications: Adobe Photoshop, Adobe Illustrator, and Adobe InDesign.

This is an intermediate course in the Graphic Design major. Conceptual and practical solutions are emphasized in projects that are conceived to address and meet various communication objectives. Assignments are based on research, design process communication skills and professional presentation.

This studio course in digital image making will challenge students to create thought-provoking and visually stimulating work while learning how to use the computer as a versatile tool for creation and manipulation. A range of projects will be developed while students consider the role of literal and implicit communication, aesthetics, and emotional impact. Computer applications: Adobe Photoshop, Adobe Illustrator, and Macromedia Flash (a beginning intro).

This course is designed to expose students to the basics of video production for the purpose of concept and content creation. Students study techniques and methods for reporting, messaging, and storytelling through video. The interactive course teaches students how to develop stories and how to best structure these stories for Action Sport audiences.

This course serves as an exploration and introduction of the history and culture of action sports. The course provides an overview of the key companies, influential athletes, various sports and key concepts that drive the industry culture and brand. Through the use of lectures and guest speakers, students will gain valuable context for design development and industry knowledge. Guest speakers will include corporate leaders, art directors, athletes and action sport designers.

This advanced course introduces 3-dimensional computer modeling, concepts, technology and techniques (i.e., 3-dimensional virtual coordinate system, wire-frame, texture mapping, light source and camera positioning, etc.) through assignments that emphasize innovative object or product design and photorealistic representation.

This lecture and studio course examines the use of digital cameras with a focus on essential skills relevant to artist and designers. Technical aspects of the course include principles of photographic exposure, lighting, and working with digital files. Artistic aspects of the course include considerations for effective communication and emotional impact, thematic unity, and image enhancement techniques. Primary software used: Adobe Photoshop, Adobe Bridge.

This is an intermediate course in the design major that focuses on the methods and principles of communication and the creation of meaningful content through the development of visual symbols, structures, and systems. The course will include extensive readings and in-depth research, the development and execution of strategic briefs, and both visual and verbal presentations.

This advanced course requires conceptual, imaginative, manual, and computational skills to meet studio production and research resulting in projects that combine visual identity elements (such as logotypes, color palettes, typographic components, illustrations, and/or photographs). The course emphasizes a contextual approach to developing a brand or a line of products and its package as well as toward understanding the design processes that result in functional three-dimensional package solutions. Computer applications: Adobe Photoshop, Adobe Illustrator, and Adobe InDesign.

This course covers user interface and user experience principles, processes, and application. Students will learn the basic skills of UI/UX in order to design digital products such as mobile apps and responsive websites. The goal of the class is to understand and apply the product development steps; starting with research, concept validation, user-focused designs, to file preparation for web developers/engineers. The course will introduce industry-approved tools and programs.

This course introduces the concepts, methods and skills used in the Action Sports industry.

This course builds on students existing design and typography skills and sets them in motion. Students in this course learn how to communicate messages by combining video, 3d, animation, and sound. This course focuses on Adobe master suite, After Effects, Maya, Sound Booth, and FinalCut Pro. Students will be storyboarding and executing motion graphics pieces that would be used in high definition television and on the web. Topics include typographic design, alpha channels, keys, masks, compositing 2D and 3D graphics, and video compression.

This course prepares students to enter the professional design industry. Students will create a database of prospective employers in a variety of design-related fields for a self-promotional direct-mail campaign. In accordance with the observed individual needs, students will complete a grand-scale senior thesis project. The emphasis of the senior thesis is for the student to challenge their design and problem-solving skills while developing final portfolio pieces.

This course continues to prepare students to enter the professional design industry. Students will create a database of prospective employers in a variety of design-related fields for a self-promotional direct-mail campaign. In accordance with the observed individual needs, students will complete a grand-scale senior thesis project. The emphasis of the senior thesis is for the student to challenge their design and problem-solving skills while developing final portfolio pieces.

This course provides the next level of development for the student looking to enter the action sport industry. This class partners with industry to create a more in depth knowledge of the business, terminology, methods and creativity needed. Students will use their knowledge of media, layout and 3D to create complete individual clothing lines or action sport related product.

This course will examine diverse ways of optimizing students experience in college. Different aspects of the student and human experience will be covered, acclimating students to and improving the nature of the learning community. Guest experts will visit to discuss specialized aspects of the course content, and several classes will be devoted to putting the lessons into active practice via “lab” sessions.

"Directed Research and Writing" (Course numbers LA103, 203, 303 & 403 for Liberal Arts) will be able to be taken 1-3 units at a time, depending on the student's needs. These courses are not designed to teach an existing LA or AH course on an independent study basis. Rather, they will be similar to the graduate-level model, where we allow for specifically designed intensive studies in the student’s desired areas of interest. A student must be in good academic standing, have a mentor instructor who agrees to direct the study, and present to the mentor a proposed focus for the units earned; this then need then needs to be approved by both the instructor and chair. If approved, the instructor will craft the specifics re: assignments, workload, and learning outcomes for that semester’s study. Three units of credit would require roughly 5 books read and 5000-7000 words written over the course of the semester. Some of the writing could take the form of journals and more informal reflections, however a formal academic written analysis of some kind must be part of the writing produced. Also, museum visits or personal tours of artifacts, et al, may stand in lieu of some of the readings. We would let the instructor determine the balance, depending on the materials and areas of study; each case would be unique.

This course is the first leg of a full-year writing requirement and focuses on exploratory writing and methods of rhetoric. The goal is to provide the groundwork for the more sophisticated writing and thinking that is required later in their academic careers, as well as to help students reach a level of expository prose writing deemed appropriate for the university level. Classes are conducted in a workshop setting where students explore issues of craft as it relates to the process of writing.

This course prepares students for the writing, reading, and analysis required in their undergraduate education by learning various methods of argumentation, logic, and inquiry. Students practice their reasoning skills in writing assignments and discussions that demand analysis via critical reasoning. Assigned readings focus on basic philosophical questions and issues facing thinkers in all academic disciplines. This course helps students discover that writing is a natural, creative, and meaningful activity that helps them learn about themselves and the world. Students also learn the importance of questioning and critiquing the words and ideas of others. Ultimately, students experience first-hand how critical reasoning enables them to become informed and educated citizens of the world, with the abilities to affect change via their own words and actions. Successful completion of this course is a prerequisite for all Liberal Arts & Art History courses.

This course provides an introduction to the human body structure and its functions. Skeletal, muscular, circulatory, nervous, and reproductive systems are studied. Projects are intended to prepare students for their studio experiences in life-drawing and life-painting. No other course may be substituted.

William Carlos Williams suggests, "It is difficult to get the news from poems yet men die miserably every day for lack of what is found there." In this class, nobody dies. Through lecture, discussion, and writing exercises, students address the following topics: rhythm, image, form, diction, metaphor, condensed language, denotation, and connotation -- all keys to not only not dying but rather living a meaningful life.

Taking place either in New York City (with excursions to surrounding areas) or The West Coast (San Francisco mainly, with perhaps Oregon and Washington hops). 10-14 nights in June-July; cost approx. $4,600 for airfare and hotel (with all taxes and surcharges included), transportation between cities, all museum/gallery/event entrance fees, several dinners, a few tours, meet-and greets with established authors, and tuition for the 3-unit class. Likewise, this class could be taken by any student to fulfill the Liberal Arts elective, or applied to a Creative Writing minor.
As the literary counterpart to ?The New York Scene? Art History course, we?d study the writing generated from each area visited, but assignments would be mainly student?s own creative writing, inspired by the writing, art, and culture of each place. New York is the literary and publishing capital of the world, so there would be lots to do and see and write about there?from the legendary reading series at the 92nd Street Y and bookstores galore, to tours of publishing houses and the campuses of Columbia and NYU, to an ?Oscar Wilde in New York Walking Tour? and Shakespeare in the Park. Readings might include selections from Paul Auster, Galway Kinnell, Sharon Olds, William Kennedy, Edgar Allan Poe, Sarah Vowell, David Foster Wallace, Walt Whitman. If we head north instead of east, most of the trip would be centered in San Francisco with its legendary literary scene -- City Light Bookstore, The Six Gallery, Marin County Poets -- and readings might include works by Kim Addonizio, Isabel Allende, Philip K. Dick, Dave Eggers, Lawrence Ferlinghetti, CB Follett, James Houston, Jack Kerouac, Jack London, Tupac Shakur, Mark Twain. This West Coast trip might include a leg to explore the literary scenes of Oregon (Richard Brautigan, William Everson, William Stafford, Gary Snyder, Vladimir Nabokov, Ken Kesey), and/or Washington (Raymond Carver, Tom Robbins).

Similar to how the College Preparatory Writing classes are structured (and how other courses accommodate both undergraduate and graduate students in the same class), LCAD?s Creative Writing Workshops will be able to simultaneously accommodate students taking the course as an Introductory Workshop (at the 100 level, practicing the basic craft essentials) and those in the more Advanced levels (200, 300, 400, working on more complex aspects of technique and voice, longer pieces, or a collection of works). While all levels will benefit from group feedback and critiques, individual assignments will be appropriate to the enrolment level.

The primary goal of this course is to provide practice in the basics of writing in multiple genres, offering students a wide range of options for expressing their stories and words regardless of the forms they may take. While traditional structures and vehicles such as songwriting and spoken word performance art would be included, this class is meant to help encourage daring and difficult works that may push the boundaries of established forms and formalities. This may include multiple-disciplinary literature, literary artwork, installations, interactive works, intertextuality, new media. Students will be encouraged to explore different avenues for their writing, understanding that there is no single "right way" to communicate a story, and that sometimes new inventions of form and even format is called for.

Students will be required to complete a variety of writing assignments and similarly take part in close critiques of each other?s new work, both in class and via written feedback composed away from class, providing textual analysis from both aesthetic and technical standpoints, articulating both emotional and intellectual responses to the works. Accomplished guest authors will visit the class to provide additional mentoring and inspiration. Excursions to public readings will augment classroom instruction. Class work may culminate in a formal publication and/or public performances (e.g., as part of LCAD?s Literary Companions Reading Series). By the end of the semester students will have broadened their understanding of the genre from a writer's perspective, improved their mechanics in regards to craft, and perhaps even taken several giant steps closer to discovering their own unique voices and visions as authors.

Similar to how the College Preparatory Writing classes are structured (and how other courses accommodate both undergraduate and graduate students in the same class), LCAD?s Creative Writing Workshops will be able to simultaneously accommodate students taking the course as an Introductory Workshop (at the 100 level, practicing the basic craft essentials) and those in the more Advanced levels (200, 300, 400, working on more complex aspects of technique and voice, longer pieces, or a collection of works). While all levels will benefit from group feedback and critiques, individual assignments will be appropriate to the enrolment level.

The primary goal of this course is to provide practice in the basics of fiction writing, with a simultaneous exploration of fiction's various theories and techniques. Students will be introduced to a variety of literary styles and devices via assigned readings by accomplished authors, with guided in-class discussions and group analyses of the craft at work in each piece (aspects such as structure, conflict, plot, character, point of view, setting, dialogue, voice, tone, narrative form). Students will be required to complete a variety of writing assignments and similarly take part in close critiques of each other?s new writing, both in class and via written feedback composed away from class, providing textual analysis from both aesthetic and technical standpoints, articulating both emotional and intellectual responses to the works. Accomplished guest authors will visit the class to provide additional mentoring and inspiration. Excursions to public readings will augment classroom instruction. Class work may culminate in a formal publication and/or public performances (e.g., as part of LCAD?s Literary Companions Reading Series). By the end of the semester students will have broadened their understanding of the genre from a writer's perspective, improved their mechanics in regards to craft, and perhaps even taken several giant steps closer to discovering their own unique voices and visions as authors.

Similar to how the College Preparatory Writing classes are structured (and how other courses accommodate both undergraduate and graduate students in the same class), LCAD?s Creative Writing Workshops will be able to simultaneously accommodate students taking the course as an Introductory Workshop (at the 100 level, practicing the basic craft essentials) and those in the more Advanced levels (200, 300, 400, working on more complex aspects of technique and voice, longer pieces, or a collection of works). While all levels will benefit from group feedback and critiques, individual assignments will be appropriate to the enrolment level.

The primary goal of this course is to provide practice in the basics of non-fiction writing, with a simultaneous exploration of non-fiction's various theories and techniques. Students will become familiar with techniques and challenges related to a variety of non-fiction writing?biography, personal essay, memoir, historical profiles, newspaper reporting, magazine features, critical reviews. Students will be introduced to a variety of styles and devices via assigned readings by accomplished authors, with guided in-class discussions and group analyses of the craft at work in each piece (aspects such as structure, conflict, plot, character, point of view, setting, dialogue, voice, tone, narrative form). Students will be required to complete a variety of writing assignments and similarly take part in close critiques of each other?s new writing, both in class and via written feedback composed away from class, providing textual analysis from both aesthetic and technical standpoints, articulating both emotional and intellectual responses to the works. Accomplished guest authors will visit the class to provide additional mentoring and inspiration. Excursions to public readings will augment classroom instruction. Class work may culminate in a formal publication and/or public performances (e.g., as part of LCAD?s Literary Companions Reading Series). By the end of the semester students will have broadened their understanding of the genre from a writer's perspective, improved their mechanics in regards to craft, and perhaps even taken several giant steps closer to discovering their own unique voices and visions as authors.

Similar to how the College Preparatory Writing classes are structured (and how other courses accommodate both undergraduate and graduate students in the same class), LCAD?s Creative Writing Workshops will be able to simultaneously accommodate students taking the course as an Introductory Workshop (at the 100 level, practicing the basic craft essentials) and those in the more Advanced levels (200, 300, 400, working on more complex aspects of technique and voice, longer pieces, or a collection of works). While all levels will benefit from group feedback and critiques, individual assignments will be appropriate to the enrolment level.

The primary goal of this course is to provide practice in the basics of script writing, with a simultaneous exploration of various theories and techniques related to creating scripted stories and storytelling techniques. Students will become familiar with common terminologies and structures?beat sheets, treatments, outlines, pitches, One Act, 3-act, 4-act, Teleplays, Screenplays, Documentaries, Multi-media, Graphic Novels, etc. Students will be introduced to a variety of styles and devices via assigned readings by accomplished authors, with guided in-class discussions and group analyses of the craft at work in each piece (aspects such as structure, conflict, plot, character, point of view, setting, dialogue, voice, tone, narrative form). Students will be required to complete a variety of writing assignments and similarly take part in close critiques of each other?s new writing, both in class and via written feedback composed away from class, providing textual analysis from both aesthetic and technical standpoints, articulating both emotional and intellectual responses to the works. Accomplished guest authors will visit the class to provide additional mentoring and inspiration. Excursions to public readings will augment classroom instruction. Class work may culminate in a formal publication and/or public performances (e.g., as part of LCAD?s Literary Companions Reading Series). By the end of the semester students will have broadened their understanding of the genre from a writer's perspective, improved their mechanics in regards to craft, and perhaps even taken several giant steps closer to discovering their own unique voices and visions as authors.

Similar to how the College Preparatory Writing classes are structured (and how other courses accommodate both undergraduate and graduate students in the same class), LCAD?s Creative Writing Workshops will be able to simultaneously accommodate students taking the course as an Introductory Workshop (at the 100 level, practicing the basic craft essentials) and those in the more Advanced levels (200, 300, 400, working on more complex aspects of technique and voice, longer pieces, or a collection of works). While all levels will benefit from group feedback and critiques, individual assignments will be appropriate to the enrolment level.

Both a survey course and a creative writing course, the focus is on the art and craft of how stories are told across artistic genres. Storytelling is employed in various ways within each of our studio majors: literary devices and narrative techniques can add richness and depth to artwork, regardless of genre. By learning about comparative storytelling across cultures, and by practicing some of these techniques via original writing assignments, students gain a deeper understanding of how the human story can be effectively told. Satisfies either the writing leg of the Creative Writing Minor or the American Cultural Experience (in some semesters, the Non-Western Cultural Experience Requirement). Enrollment priority will be given to Creative Writing Minors.

The Science of Sight is a comprehensive overview of the visual phenomenon of eyesight incorporating information from disciplines of anatomy and health, history, psychology, sociology, natural science and computer science. Though topics outside of the discipline of art will be introduced, the primary intended audience are those who intend to focus their career in the visual arts. The class consists of lectures, mini-experiments, viewing of short films, group discussions, and student presentations. Guest lecturers for specific topics are encouraged when available.

Dystopian novels are powerful and imaginative works that highlight a future we do not want to see. But they are more than just sci-fi. By exaggerating and distorting the logic of our present system, authors make strong political statements about the times we live in. This course will explore some of the pillars of dystopian literature and focus a critical eye on modern connections.

This is a survey course of the Literature of the United States, and may focus on a specific author (or group of authors), time period, theme, or culture.

This course reviews basic concepts and processes in arithmetic as well as key concepts and questions in geometry. The course explores questions in the philosophy of mathematics regarding the nature of numbers, space, infinity, and truth, as well as topics of concern to artists such as proportion, the Golden Mean, and the mathematics of light.

This course explores the basic psychological concepts underlying human behavior and development. Students may gain an understanding of the history of the science of psychology and how it has advised our culture over the last century.

This course explores the science of how language changes and how it is learned, focusing on speech sounds, sound patterns, how words are formed and organized into sentences, and eventually understood. Students will discover the properties that languages have in common and how they differ. By surveying the features of many languages and various subfields in linguistics, this course may be used to fulfill the non-western cultural requirement. This course also satisfies the Liberal Arts elective.

Economics, mathematics, and sociology combine to form the study of financial literacy. Knowing how to handle money, investments, retirement, and much more are covered in this course. Though money offers a shifting ground, this course should give you the ability to adapt to changing conditions.

This course is an ecological survey of the native flora and fauna of our surrounding wilderness area. Students will collaborate as a research team to participate in the ecological restoration of a coastal sage scrub community, develop research questions, document results, and propose further research. The canyon offers a unique outdoor class environment, applied research opportunity, and a rewarding experience of engaged stewardship in our ecological community.

Project GREEN: Ocean is designed to provide students with a broad introduction to the coastal oceans of Orange County. As a part of the course work, students will observe, analyze physical processes and distribution of organisms in the intertidal and shallow zones, and document their findings. These findings will be translated into digital educational materials that will be made available to the public. Students will also investigate coastal processes, coastal marine ecosystems (kelp forests, the intertidal zone) and the impact of humans on the coastal ocean. Students will study the marine mammals that call the Orange County coast home, for migratory seasons, or for all of the year.

Designed to introduce students to a sociological understanding of how we build and live in communities. With a strong emphasis on the psychology of power structures, social institutions, social reasoning, and social constructivism, this course helps students to understand the role of the individual within the larger society. With a broad scope into the science of groups, topics may also include urgent current events to build a vivid understanding of the social interactivity in everyday life.

This course studies and analyzes the means by which we communicate with other people or within groups of people. Written and oral communication involve nuance and awareness that is often implicit, but rarely articulated. Talking, listening, body language, conflict, resolution, empathy, metamessages, and social signaling are all aspects that connect with how we communicate, how we understand, and how we wish to make our intentions known. This course will involve writing, speaking, analyzing, and other forms of skill building.

This course provides an overview of the theories of human origins. Areas emphasized include human genetics, selective pressures, Darwinian gradualism, continental drift, migration patterns, mammals, comparative anatomy, and the fossil record. A quantitative approach is employed.

Human Diversity explores biological variation in modern humans, biological concepts of species and subspecies and the race concept from a social perspective. Following completion of this course you should have a greater understanding of the misuse of the term _‹_race,_‹ù an appreciation of human biological diversity, and a grasp of the adaptive nature of human variation.

Human Sexuality is a course that combines lectures, films, discussions and research regarding our sexuality from physiological, psychological and sociological perspectives. Topics include history, anatomy, reproduction, cross-cultural perspectives, gender roles, myths, safety and variations in sexual expression.

From memoirs to fantasy and superheroes, graphic literature has come a long way in recent decades. This survey course takes a look at graphic literature and what it means to communicate story in visual images.

This course may focus on a specific author, period, theme, or culture.

This lecture/studio course introduces students to business practices, thereby bridging the gap between the educational experience and the professional world of the graphic designer. Topics include self-promotion, processes and intricacies of finding work, printing processes and collateral, general business guidelines, billing clients, contracts, and professional organizations.

The Senior Capstone experience is designed to foster intellectual, conceptual, and artistic self-reflection by the graduating senior as they contemplate, articulate and expound on the meaning, value, and purpose of their Senior Portfolio Project. There are two major components to the class: the writing of a major essay (with drafts and related assignments) comprising a detailed, in-depth, analytical explication of the student’s Senior Portfolio Project or Thesis Film focusing on the student's creative intent and processes involved, followed by a formal oral defense of the same. The student must receive a passing grade on both the essay and the oral defense in order to pass the class and graduate. Senior Capstone must be taken concurrently with the student’s final Portfolio/Thesis class so that the work being done in one class simultaneously informs the work being done in the other. This class is graded pass/no pass. A passing grade in Senior Capstone is required in order to graduate with a degree. Senior Capstone may not be taken as Independent Study.

Ridan (sounds like readin') is a Filipino-born, California-raised, Portland-based creative person. He enjoys a playful and immersive process in creating thoughtful design solutions. He has experience in designing campaigns, packaging, motion graphics, illustrations, websites, digital products, and whatever problems design can solve. When he's not working, you can find him napping at a park or watching clouds, thrifting, or just chilling with his plants and cat.

Class of 2004
Independent Video Director
Born and Raised in Denver CO, Sayer was a child of the arts. He caught on early at being able to draw, paint, and use his imagination. His mother enrolled him in weekend art classes which he took up until middle school. He built a plethora of skills in the arts through the years. It started with drawing and painting, which led him to metal smithing and jewelry, then to video camera and finally the computer for graphic design. Though all are still fields of art he operates in, his love for videography has been his main area of expertise. He got his first video camera at the age of 14 so he could make skate videos with his friends. Combining all of his passions together brought him into his college years where he got a BFA in graphic design and multimedia. Since college his video camera has taken him to many places in the world working for very well known clients (Paul Frank, Kawasaki, Mazda and Subaru) and still being able to design and make art. "Making art and being creative is all I ever wanted to do."

DIRECTV
UI Lead, Digital Product Design
I've been working professionally for nearly a decade. Early on, I worked at a design agency in Tehran, Iran. There, I focused on print and multimedia projects while also being exposed to Iranian typography. After that, I focused more and more on interactive design. I spent several years at POSSIBLE (formerly known as Schematic), making mistakes and trying to hone my skills. Currently, I'm the User Interface Lead for Product Design at DIRECTV. My job is comprised of working with and directing a team of UI designers, and collaborating with numerous teams (User Experience, Engineering, Content, Project Management, to both create new and enhance current digital products for DIRECTV.
My years at LCAD were some of the best years of my life. Enjoy your time there and make sure you leave with no regrets. Get the most out of every class and connect with your instructors. When you leave, and you're sitting at your desk at work in 4 years time, you'll miss it.
bahadorshojapour.com

Design Consultant at Facebook

Heidi Rueff Underwood is an LCAD Graphic Design + Digital Media Alumna, as well as the former Creative Director for Virgin Orbit.

Heidi’s work truly shows the importance and impact of design on the world, as she explains how her design supports aerospace engineers during their rocket testing. In addition to playing a major role in their testing, Heidi explains how great design is able to get the general population excited about changing the world, technology, and innovation, and is able to give a visual understanding to otherwise complex subjects and projects.

Amber Miller is a Graphic Designer at Nike working in Global Sports Apparel on Basketball uniforms for the NBA and WNBA. Amber was born and raised in Southern California and attended Laguna College of Art + Design where she received a BFA in Design + Digital Media with an emphasis in Action Sports. Since graduating, Amber has worked at Nike for almost 10 years working across the NBA, WNBA, NFL and NCAA for uniforms and apparel. She teaches Team Identity Apparel as a Special Topics Design course. Amber also has a passion for helping students to grow in their careers by helping them outside of the classroom prepping portfolios and resumes.

Julian Lozano is a Senior Visual Designer located in Los Angeles. Presently, he ais part of the talented team at Huge, Inc., where he gets the fantastic opportunity to collaborate with major tech giants like Google, Ticketmaster, and LG. Together, they strive to create improved user experiences that will shape the future of design. Having immersed himself in the industry for over 5 years now, he hs gained valuable experience and insights. In 2016, he graduated from LCAD with a focus on graphic design, particularly in action sports. Now, his aspiration is to pass on some of this knowledge to the next generation of students, helping them carve their paths and contribute to the ever-evolving landscape of design. Exciting times lie ahead, and he is eager to be part of the journey towards a more innovative and immersive future!

Darryl Grant is Senior UI/UX Designer at Weedmaps. He is a multifaceted creative who is driven by a passion for visual communication and product design. He specializes in creative product solutions within UI and UX for mobile, webm and next generation platforms.
Darryl has worked with some of the worldÕ_•_ös largest multinationals all the way down to independent start-ups. His manifesto is to create celebrated work through original concepts and intelligent solutions.

Brett Anderson is a Senior Product Designer at Kroger where Brett focuses on creating design systems that help enable designers to reuse design elements for a consistent user experience. Before Kroger, he was at a real estate tech start-up designing a marketing website platform and setting up their design system. For 6 years, he led the design team of an interactive design agency. Brett is a curious and passionate interaction designer. He holds a BFA in Graphic Design + Digital Media from LCAD. Brett teaches how to design for the web experience and collaborate with their developer partners in his Internet Design course. When not on the computer designing, Brett can be found with his family, playing soccer, or drawing and painting.

Daniel‌ ‌is a multifaceted ‌artist‌ with expertise in illustration,‌ ‌graphic‌ ‌design, brand‌ ‌strategy, apparel‌ ‌design,‌ ‌and‌ ‌art‌ ‌direction. He‌ ‌has‌ ‌worked‌ ‌with‌ several ‌brands‌ ‌that‌ ‌share‌ ‌this‌ ‌same‌ ‌vision‌ ‌of‌ ‌a‌ ‌better‌ world, ‌such‌ ‌as:‌ ‌Access‌ ‌Support‌ ‌Network‌ ‌of‌ ‌San‌ ‌Luis‌ ‌Obispo,‌ ‌Whalebird‌ ‌Kombucha,‌ ‌Samabzon,‌ ‌HyperIce,‌ ‌Earnest‌ ‌Eats,‌ ‌Coromega,‌ ‌and‌ ‌Arctic‌ ‌Zero.‌ He holds a Bachelor of Art in Illustration from LCAD and a Master of Fine Art degree in Single Subject Art, Illustration from California State University at Long Beach.

Emily Atwood is a Graphic and Type Designer who specializes in identity, campaign, type design, editorial and digital work. She is a senior designer at Order, a New York-based design office specializing in brand identity, publication, signage and wayfinding design. Emily’s career includes her role as a Senior Designer at Pentagram Design in New York City for Paula Scher, leading identity, editorial, campaign and web design projects. She also worked as a Product Designer at Envoy in Irvine, California developing visual design for mobile and TV interfaces. Emily holds a BA in Visual Art from Fordham University and a BFA in Graphic Design + Digital Media from LCAD. She completed the Extended Program Certificate in Type Design at The Cooper Union. Emily brings her extensive knowledge and passion to typography and graphic design courses.

Xun Chi is a Professor of Visual Communication Design, International Curator, and the Rotating Chairman of the Association of Chinese Artists in American Academia. He holds a MFA degree in Visual Communication Design from Purdue University, where his design work achieved national recognition. Xun completed a medical degree from Tianjin Medical University in China. His professional awards and recognition include the “10 Young Chinese of Excellence Award"" at Chinese Magazine's 40-year anniversary; “Excellent Advisor Award” from the International Green Design Competition; “The Best Advisor” of Beauty of Chinese Characters Global Youth Design Contest; “Outstanding Curator Award” of Pingyao International Photography Festival, and the Winner of the Idea Festival “Best 2D Award” for two consecutive years.

Xun’s photographic work has been published in magazines worldwide including Juxtapoz, Harper’s Bazaar China, Elle UK, and Vogue. His photography and artworks have been exhibited in notable institutions at Stanford University, Nixon Presidential Library, San Francisco Public Library, and Ningbo Museum of Contemporary Art. He has been an invited guest presenter and lecturer at Beijing University, China Central Academy of Fine Arts, Art Center College of Design, Stanford University, Tongji University, Beijing Normal University, Dakota State University, Biola University, College Art Association, AIGA, and LA LIVING TV show. Xun teaches a broad range of courses at both foundation and advanced levels including graphic design, composition and color, 3D animation, motion graphics, and photography.

Mollie Engel is Vice President of Design and Development for Shawmut Corporation, a 106 year-old textile company for Automotive, Footwear, and Medical industries, with a Design studio in Laguna Beach, California. Mollie is an experienced Designer and Design Manager with a demonstrated history of working in the Automotive Industry and bringing Sustainable Design solutions to mass production. She has worked as a Designer and Design Manager for Ford Motor Company, General Motors, Hyundai Motor Company, and KIA Motors. Her expertise is in Sustainable Materials, and Color, Materials, and Finishes/CMF, Color Marketing, Product Design, Automotive Design, Concept Generation, and Design Management. Mollie graduated from the College for Creative Studies in Detroit, Michigan, and holds a BFA in Industrial Design. When not teaching, Mollie travels the world to Automotive Design studios, helping Design teams find sustainable solutions on a mass production level. Mollie teaches courses in CMF and is an active contributor to the LCAD materials library.

Isabelle Gioffredi is a designer at Ten Speed Press/Penguin Random House. She works closely with authors
to bring their ideas to life in book form. On top of designing the cover and interior of books, she also
hires and art directs photographers, stylists, and illustrators. She has worked with and managed high profile
authors such as Jennifer Latham of Tartine, Glen Weldon of NPR, Hawa Hassan, Miyoko Schinner of
Miyoko's Creamery, and Lauren Toyota.

In 2013, Isabelle graduated from LCAD with a B.F.A. in Illustration with an Emphasis in Graphic Design.
She is a proud member and supporter of AIGA and continues to be a volunteer for the non-profit.

Austin Haynes is a dedicated and impassioned Illustrator and Graphic Designer, proficient in drawing and design with a focus on creating work digitally in Adobe Photoshop and Illustrator. He is the Creative Director at the Orange County based branding agency, Dyno Creative, and an Adjunct Faculty for LCAD Graphic Design + Digital Media (GD+DM) and Liberal Arts programs. At Dyno Creative, Austin focuses on pushing the visual identities of its partners’ brand voices to be heard loud and clear, through digital and print branding and design. Throughout Austin’s professional career, he has worked on a variety of Illustration projects which include Key Art creation, Toy and Packaging design, and Commercial storyboards. Austin has crafted illustrations for clients including Netflix, Discovery +, Super 7, and Cryptozoic Entertainment. Austin holds a bachelor’s degree in Illustration from California State University, Fullerton. He is passionate about fostering a welcoming and supportive creative community both inside and outside the classroom.

Dana Herkelrath is the Chair of the undergraduate Graphic Design + Digital Media Department and a Professor of Visual Communication Design. Dana brings more than 25 years of experience as a designer in Brand Identity, Packaging, Environmental Graphic Design, Merchandising, Marketing and Design Consulting. Her Background includes working with clients in entertainment, medicine, urban community development, education, publishing, hospitality and international aid organizations.

Dana holds a BFA with honors in Graphic Design and Packaging from Art Center College of Design in Pasadena, California and an MFA in Graphic Design from California State University Long Beach. She has been teaching graphic design courses for 20 plus years and has been faculty at Art Center College of Design in Pasadena and Art Center Europe in Switzerland. Dana currently teaches the Senior Portfolio and Graphic Design History courses.

Mark James is an instructor in Graphic Design and Digital Media at the Laguna College of Art & Design. His courses focus on graphic design, ideation and drawing, brand strategy, typography, and motion graphics. His teaching emphasizes design intentionality and creating visual engagement in one's approach to solving communication problems.

Prior to LCAD, he was a professor at Lesley University College of Art & Design in Cambridge, Massachusetts, The University of the Arts in Philadelphia, The Cooper Union for the Advancement of Science and Art in New York, and has lectured and held workshops at the Maine College of Art in Portland, Maine. He has also served as consulting Creative Director to the Santa Fe Workshops in Santa Fe, New Mexico.

Professionally, his work focuses on branding and digital communications for large companies and organizations in education and technology, as well as work for small start-ups and non-profits. Mark’s client engagements have included work for The Harvard Innovation Labs, Harvard Business School, CVS Health, MIT, Major League Baseball, The National Hockey League, Physicians for Human Rights, and numerous start-ups in the technology space.

In addition to design, he is an accomplished editorial and portrait photographer and video editor. Mark holds a BFA from the University of the Arts in Philadelphia, Pennsylvania.

Awards:

Graphis Interactive
AIGA Design Annual
Publish Magazine
USA Graphic Design2
Type Director's Club
AR100
M-Real Awards

Exhibitions:
Type Director’s Club
2012 New England Museum Association Exhibition on publication design
2014 57th New England Book Show

Dan Jensen leads the Graphic Design department in the areas of motion, 3D, experiential design and programming. His professional work is focused in motion design and digital art. Dan’s clients have included Igloo, Nvidia, Hurley, Barton Perreira, RVCA, Stussy, Union Bindings Co, Adidas, Champs, Footlocker, Capitol Records, Warner Brother Records. Previously, Dan was the creative director at Paul Frank Industries, Stirstick Interactive, Groove Productions, and Daily Bread Magazine. He enjoys challenging students to engage in new and immersive technologies while maximizing their creative potential. Dan holds a BFA in Graphic Design from LCAD. He grew up snowboarding, skateboarding, wakeboarding, rollerblading and now enjoys bouldering with his children.

Justin Jones is a Product/Motion Designer, Illustrator, Content Creator and Voice Actor based out of Orange County, CA. Justin has been in the design industry for over 10 years working for multiple design agencies and product companies. Throughout his career he has had the privilege to help create digital products and experiences for such companies as: Toyota, Ubisoft, Radio.com, Honda, Lexus, and LEGO. Justin previously worked for SaaS companies Sketch & InVisionApp Inc. where he created educational content for the greater design community.

Justin Jung is a Director and Cinematographer based in Southern California. He has spent the past ten years traveling worldwide, capturing breathtaking videos, and directing campaign and documentary projects. Jung’s work combines visual elements inspired by his love for nature and open landscapes. His work features top-action sports athletes, branded campaigns, lifestyle, documentaries, technical product videos, and stylized beauty photography. He has worked with industry-leading brands such as Rip Curl, Sony, and USA Surfing. Justin conceived and directed his first Documentary following the USA Surf Team to capture the first debut of Surfing in the 2020 Olympics. His passion in combination with his extensive professional experience brings technical and practical knowledge to his courses.

Eric Liss is a 3D generalist, motion designer, commercial editor/colorist and sound designer. Eric leads Motion/Division where his client projects include Art Direction, Motion Graphics, 3D, Augmented Reality, Sound Design and Audio Scores. His experience includes 10 years at FUSE Interactive.Throughout his career he's had the opportunity to work with global brands such as Sony, Verizon, Asics, Kenmore, Generac, Elizabeth Arden, Yokohama, Prestone, Nugenix and action-sports brands including Kawasaki, Oakley, IKON Pass, FOX Shocks, TaylorMade/Adams Golf. Eric’s post-production and technical direction has been viewed by many from television to Times Square. He holds a BFA in Graphic Design from LCAD and brings his extensive experience to the 3D and Motion courses he teaches.

Julian Lozano is a Senior Visual Designer located in Los Angeles. Presently, he ais part of the talented team at Huge, Inc., where he gets the fantastic opportunity to collaborate with major tech giants like Google, Ticketmaster, and LG. Together, they strive to create improved user experiences that will shape the future of design. Having immersed himself in the industry for over 5 years now, he hs gained valuable experience and insights. In 2016, he graduated from LCAD with a focus on graphic design, particularly in action sports. Now, his aspiration is to pass on some of this knowledge to the next generation of students, helping them carve their paths and contribute to the ever-evolving landscape of design. Exciting times lie ahead, and he is eager to be part of the journey towards a more innovative and immersive future!

Dan is the Lead Men’s Designer for prAna Living, part of the Outdoor Lifestyle industry. He is a dedicated steward of sustainability and is part of a positive progression towards sustainability and circularity in the apparel industry. Growing up in Laguna, Dan made an early connection to the Ocean and surrounding hills. Surfing, Skateboarding and riding bikes gave him the freedom to experience the environment in a creative way. Building and fixing the toys of the trade offered a technical glimpse into the importance of design and function. Dan’s career began as a Sample Coordinator helping to build garments for Rusty Surfboards in 1996. He went on to design apparel for many Action Sports brands including Billabong, Quiksilver, C1RCA, Element and Captain Fin. His career includes being part of innovative projects in local manufacturing with both startup brands and established workwear makers. Dan shares his passion, experience, process and community with students in his Action Sports courses and honor labs.

Amber Miller is a Graphic Designer at Nike working in Global Sports Apparel on Basketball uniforms for the NBA and WNBA. Amber was born and raised in Southern California and attended Laguna College of Art + Design where she received a BFA in Design + Digital Media with an emphasis in Action Sports. Since graduating, Amber has worked at Nike for almost 10 years working across the NBA, WNBA, NFL and NCAA for uniforms and apparel. She teaches Team Identity Apparel as a Special Topics Design course. Amber also has a passion for helping students to grow in their careers by helping them outside of the classroom prepping portfolios and resumes.

Ashlyn Pentoney has over 25 years of graphic design experience in print design. Her expertise includes bringing projects to fruition from concept through production of final art for print collateral and packaging. Ashlyn holds a BFA and an MFA in Graphic Design from Cal State Fullerton. She brings her passion for print and design education to her foundation courses in graphic design and typography.

Born near Los Angeles Lori Werstein immersed herself in the art, design and diversity of the area. Attending Art Center College & Pasadena City College while in high school - studying painting, printing, 2D design, as well as model drawing. She completed her Bachelors Degree in Art at CSULB, later attending Otis College of Art and Design this time earning her BFA in Fashion Design. With many years of design experience working for lifestyle brands across various categories, mens, womens & childrens apparel, footwear & accessories. Brands including: Quiksilver, Roxy, 26 Red/Sugar, & Billabong. Additionally working as a fashion consultant with expertise in Print & Pattern, Logo & branding infringement, & comparative analysis of historical surface design. Lori combines her love of art, color, and composition helping students transform their creative passion into practical application, developing surface designs across many mediums.

Jini Zopf is an accomplished designer with a career path that includes packaging design at Mattel for Marvel, Star Wars, Hot Wheels products and at the Walt Disney company for their retail stores. As a 4th generation designer, her earliest memories involve drawing & discussing design themes with family. Jini has over 20 years in branding, packaging, product design, style guide creation and design leadership. She graduated with honors from Art Center College of Design in Illustration and teaches Packaging Design to emerging product and graphic designers. Jini’s design leadership inspires and strategically guides teams to success.