Illustration

This course covers figure drawing from the draped and undraped model, emphasizing accurate representation of anatomy, proportion, gesture, weight, balance, structure, and light-logic in a variety of drawing media. An introduction to portrait drawing with attention given to individual features: eyes, nose, mouth, ears, hair and skeletal structure as they relate to the entire human head.

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.

This course is an introduction to drawing the human form that explores observational and imaginative drawing techniques using graphite and charcoal. Students work from the draped and undraped model. Emphasis is on accurate representation of the figure utilizing observation with the elements of gesture, measurement, construction line, volume, proportion, and surface anatomy. Materials include graphite and charcoal.

This course introduces 2-D design principles in constructing pictorial imagery. The relationship between the principles of design and formal elements of art are addressed, and how these components apply to composition and illustrative applications. Appropriate and effective fusions of form and function and illustrative styles and strategies are also explored.

An introduction to illustration and the role of the illustrator in the communication arts field. Through assignments and in-class demonstrations and brief exercises, students will explore the practices and principles of communicating visual concepts and executing successful illustrations. Students will work with a variety of media and surfaces and will be expected to understand the uniqueness and use of each individual material and practice by the end of class. The course will place an emphasis on visual communication and problem solving. Students are expected to come prepared to every class, and to find individual solutions to the illustration “problems” provided them throughout the semester and to successfully execute each project to the breadth of their ability.

This course introduces students to the rendering and painting of digital images from life and the imagination. A focus on developing observational skills and working from life will build a foundation for original imaginative work. Topics covered include Photoshop tools and best practices, fundamentals of light and shadow, color theory reference research, and basic design and composition as well as the use and creation of custom brush sets. The course will include demos, lecture, and in class exercises & critique coupled with homework.

The Advancement Review (AR) is a formal portfolio review designed to evaluate competency in foundation studio art abilities at the fourth semester Sophomore level, or when the student has earned between 40 and 65 total academic units. Students submit a series of images to the AR, which is a held twice-a-year. A panel of faculty evaluate submissions, and the student is presented the results showing scores of: Outstanding, Excellent, Good, Satisfactory, or Deficient in areas that include: Anatomy, Painting, Perspective, Draftstmanship, Design (or 3D), and Illustration. Students are required to obtain designated tutoring for all categories scored "deficient" prior to re-submitting during the next AR submission period. Once all categories have received a minimum score of satisfactory or higher, the AR requirement will be credited as "passed". Failure to pass all categories of the the AR will result in the student being withheld from entering senior status.

This course improves the artist's understanding of the body's underlying structure while emphasizing accurate observation and depiction of the figure. Anatomical elements such as the skeleton, muscular origins, insertions and surface landmarks are stressed. Students learn anatomy by drawing individual parts of the figure that begins with the skeleton followed by studying the major muscles of the human figure.

This course gives the illustrator hands-on opportunities to explore the interaction of words and images. Students will learn basic principles of type and its role in visual communication and historical context.  This course will also encourage experimentation with type and text as a central component of narrative art, which includes, book, comics, editorial / advertising illustration, and posters.   Processes and genres may include: Adobe Illustrator, Indesign, calligraphy, signage, graffiti, tattoo, relief printmaking and illustrated type.

This course is designed to further develop the students understanding of perspective. Areas covered will include multipoint and curvilinear perspective, cast shadows, reflections, forced perspective and distortion. The goal of this course is to further the students ability to accurately conceive and create environments from imagination using quick-sketch empirical methods in addition to traditional mechanical processes covered in fundamentals of perspective.

A sophomore level course that encourages students to look inward and build toward a professional voice and portfolio as it relates to their future focus as a creative professional. Digital tools and digital media exploration are emphasized as students generate work in response to industry based prompts. Basic motion and animation techniques are covered and continued in IL 336 Sequential Problem Solving. Illustration Voice + Vision will also serve as an introduction and overview to core business practices in Illustration.

This course is an exploration of how illustrations are used in the context of commercial projects. Exploration of printing and reproduction processes related to the needs of Illustrators. Emphasis on interaction with various industry professionals.

A sophomore level class that gives students an introduction to existing and emerging Illustration markets. Furthermore this course examines how you begin to modulate your unique artistic identity across industries. and the perpetually evolving professional projects available to illustrators in the 21st century is covered. Within IL 282 Illustration Industries students begin to build the foundation for a flexible portfolio that captures their unique artistic vision and identity. This course takes the place of IL210 Rendering.

This course provides a comprehensive exploration of the connection between illustration and design. Students are equipped to enter the professional world with market-ready skills, such as producing advertising illustrations for various media outlets including print, digital magazines or other printed collateral. Through assignments centering on relationships among art directors, illustrators and clients alike; this course helps prepare creative minds to flourish in any work environment they may find themselves drawn towards.

This course teaches skills in the use of appropriate Macintosh software as a tool in creating illustrative paintings. Students draw directly on the computer or manipulate scanned drawings, paintings, photographs and video images to produce individualized illustrations.

This junior level course guides students in the creation of narrative works in sequence as a means of producing illustrations that interact with a myriad of industry markets. Furthermore, this course will continue and build upon the motion based prompts introduced in IL 236: Voice + Vision.

This course will offer the tools for students to become self-sufficient artist entrepreneurs. It will present an economic model for artists to successfully market their art and services in a variety of areas including: online marketing/social media, galleries, events and conventions, how to build a following and start while in school. The goal of this class is to align products/services with artistic personal vision, and market these gifts to the world though High Tech/High Touch venues.

A junior level course that challenges students to amplify their unique identity and artistic vision as it relates to their portfolio. The process and skill for professionally pitching and selling self - generated illustration projects is covered. Students will edit and refine individually crafted creative works in a group setting from ideation and brainstorming to final art. Furthermore, Illustration Ideation Lab: Pitch in Practice will activate students to explore methods and techniques related to their practice that enhance and refine their professional portfolios.

A senior level course that emphasizes the importance of voice and individual perspective as it relates to the students professional Illustration portfolio. Students will engage with industry adjacent assignments and guest critics with the end goal of plugging their Illustration practice into the world outside of the classroom. Furthermore, the class builds community through weekly critique and pushes each student among the cohort to become a laser focused visionary with a portfolio that can interact with and exist within the myriad spaces and major industries in the Arts.

Senior Portfolio 1 is taken after the completion of all foundation, sophomore, and junior level classes. It’s is a directed studies course that provides, through faculty supervision, the time, opportunity, and advisement for each student to create the physical pieces that will become the core of their first working portfolio. The course is offered as a transition from the academic experience to a professional life as an illustrator. Through extensive research, students provide a written project proposal on a topic or theme of their choice to create a cohesive body of work. The progress of this work will be monitored through individual appointments between the student and Senior Portfolio faculty. Intensive group critiques are spaced throughout the term to allow for class interaction. All coursework is done inside the classroom and outside, independently. Pre-Requisite: IL001, completion of Junior level classes, senior status.

This is a directed studies course that provides, through faculty supervision, the time, opportunity, and advisement for each student to create the physical pieces that will become the core of their first working portfolio. The course is offered as a transition from the academic experience to a professional life as an illustrator. Students select their own topic or theme for a body of work, the progress of which will be monitored through individual appointments between the student and Senior Portfolio faculty. Intensive group critiques are spaced throughout the term to allow for class interaction. All coursework is done outside the classroom.

This lecture course introduces the student to small business practices that help bridge the gap between the educational experience and the professional world of the illustrator. Topics include self-promotion, processes and intricacies of finding work, printing of promotional collateral, setting up a working studio, legal and pricing guidelines, and billing clients, contracts, and professional organizations. Includes guest artists and field trips to art studios, agencies, and art directors.

This course is an introduction to painting the draped and undraped life model with an emphasis on value control, shape design, temperature shifts, and paint application. Students learn methods to convincingly depict the life model through the study of light sources and color palettes using direct and indirect painting methods. The course also includes an introduction to portrait painting with an emphasis on accurate representation of the head and upper torso.

This course is an introduction to direct oil painting working from observation and photographic references, with an emphasis on color theory applied to pigments and composition design. Historical and contemporary best practices with materials and indirect techniques are introduced. Projects include working from still life, concept building using color theory, and applying compositional elements to illustrate the artist’s intent. Materials used: oil paints

This course provides an intensive study of graphic visualization for convincing representation.  Students will be introduced to the use of light logis and the application of a variety of black and white and color media to produce highly refined and visually accurate drawings and painting.  Emphasis is on a realistic fidelity in the representation of nature and man-made objects through the careful study of structure, surface, and lighting influences.

This course covers the history of the medium and artists who created their illustrations with ink. Varieties of fluids, tools, and supports and their usage will be studied and demonstrated. Assignments include exercises in hatching and crosshatching, stippling, ink washes with brush, technical drawing, and combining other media with ink. Practical application of techniques to the illustration field are learned through advertising, book, and editorial drawing projects.

This course provides an overview of traditional and contemporary color illustration practices, techniques, and styles. A comprehensive and practical introduction to color theory and the use of multiple color media is also emphasized. This course is meant to be the critical bridge between rational color theory and intuitive painting. It also provides the opportunity for exploration and familiarization of painting methods and styles through a range of in-class exercises and outside assignments addressing the full spectrum of color and its relationship with commissioned art.

This course is an exploration of the chemistry of color mediums and the experimentation with possible handling techniques as it relates to the finished composition. Compositional emphasis will be on using the human form from life and reference material as it relates to each assignment. Skill in the areas of reference photography and lighting as it relates to working with models will be developed. Knowledge will be gained in the areas of application, handling, surfaces, color palette development, narrative, concept, and composition.

This course includes a comprehensive examination of digital drawing and painting from observation. This course explores the possibilities in the use of technology as it applies to observational drawing and painting. Students will employ the use of a laptop computer, software and graphics tablet and stylus.

Even in an ever-changing world, toys will always be in demand, and these days, what a toy is and who it’s for is broadening—toys aren’t just for kids anymore! In this course we will look at the importance of human representation in miniature form for various kinds of play. We will explore the history of humans in toy form, from the ancient clay action figures of gladiators fighting in the coliseum to the porcelain dolls of the Victorian era to the latest Marvel Superhero collectibles. We will look at the toy-representations of men and women throughout the last few decades and we will explore how those representations may shape young minds. Each student will design their own jointed figure based on something they feel passionate about and create Concept Sketches, Control Art, and finally, the figure itself. We will use various materials and techniques to bring the designs to life, sculpting in industrystandard materials and finally molding, casting and painting the figures.

This course is an introduction to water-based media with an emphasis on transparent watercolor. Students learn the basic techniques of flat washes, graduated washes, and wet-into-wet applications. Stretching paper, transparent glazes, dry brush, and experimental techniques are also explored. Subjects include still life, landscape, and the portrait.

This course is designed to refine and develop the skills for a consistent personal visual vocabulary, and to enable the artist to produce editorial interpretations based on literary works and social, cultural, and political issues of personal and public opinion. Concepts are stressed with emphasis on communication of visual surprise and imagination. The creation of narrative and symbolic image making are encouraged and explored. Students are expected to find individual solutions to both black and white and color assignments.

This course provides an introduction to the process and application of fantastic illustration to print products, interactive games, film/television, and mass media.

This course is an extensive study of children’s book illustration and publishing. The history of children’s book illustration and various types of children’s books are researched through visual presentations, lectures, class discussions, and assignments. Storytelling structure with an emphasis on appropriate reader-level identification critically follows standard professional guidelines. Students are encouraged to explore personal illustrative styles through media experimentation. Book subjects interpreted through a personal lens, cultural heritage, diversity, and inclusion, are examined as they relate to the field. Class critiques challenge students to defend their work and refine relevant skills with strong consideration for commercial application.

This course focusses on creating art for the unique world of children's books. Emphasis is on being able to create an entire book from cover to cover. Concepts introduced will be the various types of children's books and their special requirements, approaches to designing all aspects of a book (inside and out), and effective presentations to publishing clients. The course will include lectures, slide presentations, demonstrations, class discussions and critiques.

This course is a studio workshop in the Comic Book/Graphic Novel as an art form and entertainment medium, balancing personal expression and commercial application. Through weekly one-on-one discussion, lectures/presentations, group discussion, and production of comic book pages in continuity, the distinctive magic of the art form will be explored, and skills in its creation advanced. The medium's distinctions from and relations to traditional Literature and Cinema will be discussed.

This course is an extensive study of children’s book illustration and publishing. The history of children’s book illustration and various types of children’s books are researched through visual presentations, lectures, class discussions, and assignments. Storytelling structure with an emphasis on appropriate reader-level identification critically follows standard professional guidelines. Students are encouraged to explore personal illustrative styles through media experimentation. Book subjects interpreted through a personal lens, cultural heritage, diversity, and inclusion, are examined as they relate to the field. Class critiques challenge students to defend their work and refine relevant skills with strong consideration for commercial application.

A continuation of Advertising Illustration I. Students refine previous methods, processes, and techniques, and work on a series of illustrations that emphasize the making of commissioned artwork for the marketplace. Students select their own media and develop a consistent style appropriate to their own direction.

This internship lab provides students with a supervised, practical learning experience in a work setting that is relevant to their major. Through virtual assignments and workplace projects + training the student will apply what they have learned in their LCAD classes in order to solidify professional goals, test possible career choices, build their networks, and gain a better understanding of employer expectations. This lab is to be taken concurrently with an internship for-credit and is designated as CREDIT/NO CREDIT for up to three (3) units of academic credit. This lab may be repeated one time for credit (a total of 6 units)

This course is designed to empower graphic designers with the knowledge and skills needed to create compelling visual content for a wide range of digital platforms. Through a combination of theory, practical exercises, and real-world case studies, students will gain an understanding of how to engage, inform, and inspire audiences across various online platforms including social media, websites, mobile apps, and emerging technologies. Topics include social media literacy, best practices for digital file distribution, domain name registration, web hosting, and a survey of dominant platforms and technologies that allow for instant, global communication. Software used: Adobe Photoshop, Adobe Illustrator, text-editors, and supplemental open source and third party tools for design and content management.

This course investigates the history, practice, and visual language of collage. Utilizing varied sources to gather images and found objects, students will investigate and research interpersonal connections to images and objects they feel connected too. This course is structured around three main projects that seek to expand the creative, technical, and conceptual possibilities, all while aspiring to push the boundaries within the media of collage.

As an artist, my work focuses on converting abstract concepts into visual narratives. I imagine stories, worlds, and characters to symbolically express ideas, with the intention of making an emotional and intellectual connection with my audience.
My philosophy echoes this simple credo - to bring something new, something beautiful, and something filled with light into the world. In all I do, I strive to create a space for these elements through the use of originality, quality and imagination.
http://www.katybetz.com/www.katybetz.com/Welcome.html

Specialties: My specialties are Digital Painting and Texture Designs for the look development of CG animated television. This includes the surface design of sets, environments, characters, and props. My education background also includes illustration and traditional painting. Responsible for creating two-dimensional digital artwork that served as prototype style guide to overseas artists for the shading, textures, and materials for the 3-D models. Artwork included: props and sets for the upcoming spin off TV series of DreamWorks' Dragons: Riders of Berk.

Henry Cram is an Emmy Awardaou-winning illustrator, sculptor, and computer artist. When he is not writing and illustrating for KCET, he works on his comics, Fiscal Cliff and the upcoming series The Wig. His sculptures can be seen at The Hive Gallery and Cactus Gallery, both located in Los Angeles.

I like to draw and paint in all mediums and create unique characters and environments. I love to sculpt when given the opportunity and free time to do so. I have worked on many feature films painting backdrops/sets and painting faux finish on Backlot sets as well. Features including Inception, Land of the Lost, Ironman 2, and backlots of Universal Studios Hollywood and Raleigh Studios.
I am currently working with more Digital mediums and am interested in character and environment design.
Specialties:Drawing and painting
http://scottgordonart.daportfolio.com

Kellie Hautala, just landed her dream job as a designer at DITA! Kellie has studied Drawing and Painting, Sculpture, Illustration and Graphic Design during her time at Laguna Collage of Art and Design. Kellie loves trying new restaurants, online shopping, her dogs, big high-heels and really good design. She currently works as a graphic artist and product designer and feels that having an illustration degree / focus has given her the edge.
Website: http://www.poptype.squarespace.com

Monica Magaeua, was recently a member of a creative team assembled by Academy Awardaou nominated director, Adam Pesapane, well-known for his groundbreaking stop-motion films.
Using thousands of paper illustrations to create a flipbook glimpse into Honda Motor's past and present innovations, Magaeua and team created a groundbreaking commercial called "Paper."
Honda loved the commercial so much, they decided to double their airtime purchase and to premier the complete 2-minute version on CBS during the third quarter of an NFL game this past Sunday, September 20th.
Over the course of two thrilling weeks, Monica worked on the Indy cars sequences, the transition of the motocross bikes to the Honda jet, the complete jet sequence and the drop of the NSX engine into the car. She illustrated 15 frames per Indy car, over 30 frames for the jet sequence and 20 frames for the engine. Monica said, "It was so cool to see my illustrations in the final product!"
"Paper" will be supported on Honda's social channels with Twitter trivia, teaser clips on Instagram and Vine, Honda product images on Instagram and GIFs on Twitter.
The two-minute spot will run on network TV placements scheduled on popular programs such as "Dancing with the Stars," "Rosewood," "Minority Report," and "Blue Bloods." Capping the week of September 26th, "Paper" will air on ESPN during Saturday College Football. A 60-second version will air throughout October on NBC, CBS, Fox and ABC. In addition to TV, digital placements will occur on Facebook and YouTube.
Watch the Must-See Video here:e ohttps://youtu.be/vpyeQeTDGFA
And watch the amazing behind the scenes making of video here:e ohttps://youtu.be/9tpBc8kmuJY

Hi-Fructose / Juxtapoz / Arrested Motion
A painter and muralist, Stanton creates work ranging in size from tiny eye miniatures to large-scale images ornamenting entire building facades.
The work combines classical oil painting with intricate patterns inspired by ancient architecture, letterpress ornaments, and decayed infrastructure. In search for historical reference, Stanton begins his artistic process by exploring abandoned 19th century sites around the greater New York City area collecting photo references, Victorian ephemera, and antiquated machinery. These artifacts often appear in Stanton's paintings as visual cogs in heavily ornamented machine-like compositions. The initial studies of these artifacts are then distilled into highly ornate silk-screened compositions. Finally, the pieces are fully rendered with oil paint, manipulating focus, light and perspective.
Stanton is originally from Southern California where he studied Illustration and Drawing and Painting. He relocated to New York after graduation in 2008, and has since been mentored by New York Pop Surrealist Ron English. He has shown with Bold Hype Gallery, Ad Hoc Art, SCOPE NY, Helium Cowboy Artspace, Spoke Art, Corey Helford Gallery, Opera New York, and Last Rites Gallery.
www.beaustanton.com

An experienced Art Director with a broad range of experience in the art field. Proven leadership skills in working with groups and individuals to achieve a high level of performance. Self-motivated, with an ability to work within deadlines and find creative solutions to complicated problems. Dedicated to maintaining high quality standards.
- Freelance Illustration Experience -
A complete portfolio is available upon request. A short list of clients include:
Wizards of the Coast
Upper Deck Entertainment
Tri-King Games
Alderac Entertainment Group
Norseman Entertainment
Warner Brothers
Angel Quest Inc.

Specialties:
Strong understanding of the Gaming genre, specifically Collectible Card Games and Tabletop Roll Playing Games, both in development and practical application.
Extensive contacts in the illustration field developed over the last 10 years.
A well developed understanding of the artist/art director relationship.
Currently conduct game art portfolio reviews for Laguna College of Art and Design.

Jason Dowd has been a professional freelance illustrator and fine artist for over thirty years. His clients include Simon & Schuster, Scholastic, UCI, Anheuser-Busch, and Chase Bank, among others. Most recently, he has completed sixty full color illustrations for The Wonderful Wizard of Oz, which will appear in 2025 for the 125th anniversary. In 2019, he received a commission from a UCI astrophysicist to illustrate the future
capabilities of the James Webb telescope. The digital diagram produced was needed as a visual presentation tool for NASA, to show how deep into space the telescope would actually see. Jason graduated with distinction from Art Center College of Design in 1990, majoring in Illustration. In 2006, he and his family moved from the Midwest to
Orange County, CA. In 2007, former LCAD President Jonathan Burke hired Jason as an Adjunct Faculty at LCAD, where he has been teaching talented and inspired students for fifteen years.

John F. Malta is the Chair of the undergraduate Illustration Department where he teaches courses at all levels. Johns professional practice as an artist explores the convergence of illustration, comic art, installation, and design. For over a decade he has operated a professional studio working with clients such as The New York Times, Magic the Gathering: Secret Lair, The New Yorker, The Washington Post, The Wall Street Journal, Honda, Beyond the Streets, Adult Swim, Netflix, Dr. Martens, The Museum of Arts & Design, Blink-182, Premier Guitar, Garbage Pail Kids, Complex, and Sports Illustrated for Kids.
Johns studio practice employs a multitude of art-making techniques to execute, editorial campaigns, motion-based advertising work, comic books, picture books, zines, gallery exhibitions, and large-scale installations.


John holds an MFA in Illustration as Visual Essay from the School of Visual Arts and a BFA in Illustration from the Columbus College of Art & Design. His work has been awarded, featured, and recognized by The Society of Illustrators, American Illustration, Juxtapoz Magazine, Daum Museum of Contemporary Art, Xeric Foundation, and AIGA Eye on Design. He is perpetually drawing and developing narrative projects that seek to blur the barriers between our reality and the digital space.

Mark Pacella has been drawing for the communication arts since the age of 9. Working in publishing as an Editorial illustrator for clients such as The New York Times, The National Law Journal, Notre Dame Magazine etc, he eventually went on to work at Heavy Metal magazine/Marvel comics/DC and Image comics etc.

Tired of shoveling snow, he eventually relocated to sunny California where he worked in animation for a short time for Hanna Barberra etc. before embarking on his storyboard career for commercials and film, where he currently enjoys a rich diversity of material to apply himself in the service of helping to tell cool stories.

Christopher Ramsey is currently based in Orange County. He works with both Illustration and Fine Art techniques in his professional work. Christopher is passionate about figurative and landscape works and uses these elements in his paintings and illustration. His recent works include a Second Place award for the Tustin Plein-air Competition in October 2023.

Jamie Stark is a design and branding consultant. A native New Yorker, Jamie, holds a BA from Fordham University and studied fine art at The Art Students League of NY. Jamie worked at a number of design studios and advertising agencies in NYC. Ultimately, he founded his own firm with offices in NYC and NJ with several employees that provided design and branding to a number of Fortune 500 clients. In 2013, in search of a better lifestyle, he came to California and set up as an individual practitioner. Along with teaching at LCAD, Jamie maintains a design practice creating packaging, branding, and design for a variety of clients in different industries. He also currently consults with several LA-based advertising agencies designing key art and title treatments for the entertainment industry. He has worked on projects for Warner Bros, Disney, HBO, Lionsgate, Netflix, Amazon, and AMC. He has won design awards for his work from Graphis, Graphic Design USA, Adobe, AIGA, Logo Lounge, and others. Jamie has a deep and abiding love of typography that he brings to every project and most particularly to the classes he teaches at LCAD.

Mark Zoeller is a veteran entertainment industry artist who has a long affiliation with film and television, being awarded two Emmy Awards in Outstanding Achievement in Animation, Storyboarding. Hes worked for all the major studios, Warner Bros., Disney, DreamWorks SKG, Fox, Marvel, and Technicolor to name a few. During his time at LCAD, Mark has taught a spectrum of classes including storyboarding, visual storytelling, background layout design, character design, Photoshop and advanced Photoshop and figure drawing. Other classes he has taught at other universities include animation pre-production, storyboarding, illustration, and drawing. When not teaching, Mark lives and works in the heart of Hollywood.