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ILLUSTRATION with imagery from digital cameras, scanners, and FUNDAMENTALS OF ILLUSTRATION ADVANCED PERSPECTIVE FOR ILLUSTRATION
generating original computer graphics. Topics include (FD124) (IL224)
FUNDAMENTALS OF DRAWING photo-retouching, digital drawing and painting, digital 2 Units 3 Units
(FD110) montage, color modes, and preparing files for printing In this course students are introduced to the role of FD120
2 Units and web based display. the illustrator and how the illustrator works. Through This courses is designed to further develop the students
This is an introduction to drawing, covering the basic directed class assignments, students are exposed to understanding of perspective. Areas covered will
technical skills and materials necessary to create Primary software: Adobe Photoshop. fundamental principles and practices of illustration. include multipoint and curvilinear perspective, cast
convincing representations of simple or complex still- Methods, processes, and techniques of visually shadows, reflections, forced perspective and distortion.
life forms. Students are introduced to composition and FUNDAMENTALS OF PERSPECTIVE communicating ideas are explored. Students learn how
the concepts of creating volume and space utilizing (FD120) to acquire and properly use reference material, develop The goal of this course is to further the students ability
lines as measurement, construction drawing, and value 2 Units the sketch, visually express imagery, and formulate a to accurately conceive and create environments from
systems. This is an introduction to linear perspective systems. finished illustration. imagination using quick-sketch empirical methods in
Students explore a variety of basic and complex laws addition to traditional mechanical processes covered
Course materials: graphite and charcoal. to convey the illusion of three-dimensional forms in Course prerequisites: Fundamentals of Drawing, in fundamentals of perspective
space on a two-dimensional surface. The course stresses Fundamentals of Figure Drawing I, and Fundamentals
FUNDAMENTALS OF FIGURE DRAWING volume, scale, placement, and direction of forms in a of Composition and Color. FUNDAMENTALS OF FIGURE DRAWING 2 CATALOG
(FD111) spatial field.
2 Units FUNDAMENTALS OF DIGITAL IMAGING – (FA201) 200
This course is an introduction to drawing the human Course prerequisites: Drawing Fundamentals and ILLUSTRATOR 3 Units
form. Students work from the draped and undraped Fund of Figure Drawing or taken concurrently (FD129)
model. Emphasis is on accurate representation of the 2 Units Figure drawing from the draped and undraped model,
figure utilizing observation with the elements of gesture, FUNDAMENTALS OF PAINTING Lecture and studio course focused on the use vector
measurement, construction line, volume, proportion, (FD122) based imaging software for drawing and design. emphasizing accurate representation of surface
and surface anatomy. 2 Units Comprehension of key terms and concepts are taught,
This course is an introduction to the basic skills, tools, with projects designed to develop practical software anatomy, proportion, gesture, weight, balance and
Course materials: graphite and charcoal. materials, and techniques used in painting with oils. The skills and aesthetic development. Emphasis is placed
student paints from direct observation, primarily using upon use of vector drawing tools, stylization techniques, structure in a variety of drawing media. Drawing from
FUNDAMENTALS OF COMPOSITION + COLOR the still life as subject matter. Emphasis is on solving and integration with pixel graphics. Topics include
(FD115) the problems of representing form in space by applying simplification of form, technical drawing, pattern the head with an introduction to the general rules of
2 Units the elements of composition, perspective, value, and creation, and perspective studies.
This course analyzes basic compositional structures color. Topics include preparing supports for painting proportion as they relate to portraiture and to the
and presentation approaches from master paintings. and various painting techniques. Primary software: Adobe Illustrator.
Students will investigate how artists use color to investigation of individual features: eyes, nose, mouth,
achieve order, balance, and unity. Students will also Course prerequisites: Fundamentals of Drawing, RENDERING
learn practical application of formal pictorial elements, Fundamentals of Figure Drawing I, and Fundamentals (IL210) ears, hair and skeletal structure as they relate to the
such as line, value, hue, temperature, edge relationship, of Composition and Color. 3 Units
emphasis, and eye path to create visual equilibrium. An intensive study of graphic visualization for entire human head.
PICTORIAL DESIGN FOR ILLUSTRATION convincing representation. An introduction to light
Course materials: graphite, charcoal, and oil paint. (FD131) logic and the application of a variety of black + Course prerequisites: FD110, FD111
2 Units white and color media to produce highly refined and
FUNDAMENTALS OF DIGITAL IMAGING – PHOTOSHOP This course introduces 2-D design principles in visually accurate drawings and paintings. Emphasis is FUNDAMENTALS OF FIGURE PAINTING 1
(FD127) constructing pictorial imagery. The relationship on a realistic fidelity in the representation of nature (FA202)
2 Units between the principles of design and formal elements and man-made objects through the careful study of 3 Units
Lecture and studio course introducing principles of of art are addressed, and how these components structure, surface and lighting influences. An introduction to painting the draped and undraped
creative visualization with the use of the computer and apply to composition and illustrative applications. life model with emphasis on direct observation and
pixel based imaging software. Comprehension of key Appropriate and effective fusions of form and function Course prerequisite: Foundation courses accurate representation. Students learn to convincingly
terms and concepts are taught, with projects designed and illustrative styles and strategies are also explored. depict the life model through the study of light sources,
to develop practical software skills and aesthetic color palettes and compositional devices using various
development. Emphasis is placed upon working painting techniques. An Introduction to portrait painting
with an emphasis on accurate representation of the
head and upper torso.

Course prerequisites: FD110,FD111

ILLUSTRATION 1: COLOR
(IL214)
3 Units
This course focuses on the advanced implementation
of color and how it can effectively function within a

image. Various color solutions are examined to visually This course will encourage experimentation with training and site page development exercises. Course Course Prerequisite: Computer Imaging CATALOG
maximize a story, concept or design. The creation of type and text as a central component of narrative art, content is designed to prepare students to create and
narrative and symbolic image making are encouraged which includes, book, comics, editorial / advertising maintain basic websites and to give a solid foundation DIGITAL DRAWING FROM OBSERVATION
and explored using various mediums that including illustration, and posters. for continued web design study and development. (IL228)
gouache and acrylic paints. Students will be encouraged 3 Units
to explore imaginative compositional solutions while COMPUTER IMAGING Course prerequisites: Fundamentals of Digital Imaging A comprehensive examination of digital drawing and
working from references. (GD230) 1: Photoshop and Fundamentals of Digital Imaging 2: painting from observation. This course explores the
3 Units Illustrator possibilities in the use of technology as it applies to
Course prerequisite: Foundation courses Computer Imaging is a studio course in digital image observational drawing and painting. Students employ
making. Students are challenged to create thought Computer applications: Adobe Photoshop, Macromedia the use of laptops, software, Wacom tablets and
ARTISTIC ANATOMY 1 provoking and visually stimulating work while learning Dreamweaver, Adobe ImageReady and Adobe Illustrator. stylists. The goal of this class is to digitally emulate the
(FA205) to use the computer as a versatile tool for creation expression of natural media.
3 Units and manipulation. A range of projects is developed ILLUSTRATION 2
This course improves the artist’s understanding of the while students consider the role of literal and implicit (IL314) PROFESSIONAL STUDIES
body’s underlying structure while emphasizing accurate communication, aesthetics and emotional impact. 3 Units (IL412)
observation and depiction of the figure. Anatomical An advanced course that focuses on narrative and 1 Units
elements such as the skeleton, muscular origins, Computer applications: Adobe Photoshop, Adobe editorial issues. Students use existing topics as reference
insertions and surface landmarks are stressed. Students Illustrator and an introduction to Macromedia Flash to create inventive and impactful visual solutions for This lecture course introduces the student to small 202
learn anatomy by drawing individual parts of the figure various commercial applications. Creative processes
that begins with the skeleton followed by studying the ILLUSTRATIVE PAINTING include both digital and traditional methods. business practices that help bridge the gap between the
major muscles of the human figure. (IL216) educational experience and the professional world of
3 Units Course Prerequisite: Illustration 1: Color the illustrator. Topics include self-promotion, processes
Course prerequisite: FA201 An exploration of the chemistry of color mediums and and intricacies of finding work, printing of promotional
experimentation with possible handling techniques as GRAPHIC ILLUSTRATION 1 collateral, setting up a working studio, legal and pricing
APPLIED ART REPRODUCTION they relate to the finished composition. Compositional (IL315) guidelines and billing clients, contracts and professional
(IL229) emphasis is on using the human form from life and on 3 Units organizations. Includes guest artists and field trips to
2 Units using reference material as it relates to each assignment. This course focuses on the production of illustrations art studios, agencies and art directors.
A comprehensive course covering the skills needed Skill in the areas of reference photography and lighting that promote sales, recognize commercial products,
to prepare artwork for print or digital media. The goal as they relate to working with models are developed. or call attention to services or institutions. The goal of Course Prerequisite: Senior status
of the class is to effectively interface between the Knowledge is gained in the areas of application, this course is to prepare artists to work professionally
graphic designer, the illustrator and the printer. Special handling, surfaces, color palette development, narrative, with clients in the marketplace. Assignments include ILLUSTRATION 3: ADVANCED STUDIES
emphasis is given to relevant traditional production concept and composition. advertising illustrations that might appear in commercial (IL416)
techniques as well as current computer applications and collaterals such as magazines, newspapers, billboards, 3 Units
technology. Current Mac-based software is introduced. Prerequisites: Foundation courses and Illustration 1: posters, brochures, pamphlets, television, print or on Illustration 3 is a “wildcard” course where a student
Included are field trips to professional service agencies Color or concurrent enrollment in Illustration 1: Color websites. Emphasis is on the working relationship works with a faculty of choice within the illustration
and organizations. between art director and illustrator and directly major. Students develop and expand concepts and skills
INTERNET DESIGN 1 between the client and illustrator. related to their senior project and to further supplement
Course prerequisites: Fundamentals of Digital Imaging (GD231) that body of work. With approval from their advisor
- Adobe Photoshop and Illustrator 3 Units Course Prerequisite: Illustration 1: Color and faculty, the student can present work created in
Internet Design 1 introduces design issues related to illustration 3 at senior portfolio 1 or portfolio 2 critiques
WORDS IMAGES AND IDEAS the Internet and to hands-on development of HTML DIGITAL PAINTING FOR ILLUSTRATION 1 to receive senior class interaction.
(IL223) web pages that incorporate text and graphics. Emphasis (IL330)
3 Units is placed upon practical web design principles and 3 Units Course prerequisites: Senior status and enrollment in
This course gives the illustrator hands-on opportunities supporting technologies, including basic use of domain This course teaches skills in the use of appropriate senior portfolio 1 or 2
to explore the interaction of words and images. Students name registration, purchasing web hosting services, Mac-based software as a tool in creating editorial,
will learn basic principles of type and it’s role in visual JavaScript and CSS. The course includes discussions of entertainment and advertising illustrations. Students SENIOR PORTFOLIO 1: ILLUSTRATION
communication and historical context. The goal of this issues such as HTML hand-coding, usability, marketing, draw directly on the computer or manipulate scanned (IL418)
course is to bridge the gap between the conventional contrasting design philosophies, supplemental software drawings, paintings, photographs and video images to 3 Units
graphic use of type and current illustrative trends and produce individualized illustrations. A directed studies course that provides—through faculty
methods. supervision—the time, opportunity and advisement

for each student to create the physical pieces that will CATALOG
become the core of their first working portfolio. The class
is offered as a transition from the academic experience 204
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.

Course Prerequisites: Illustration 2, senior status and
with permission of the advisor.

WATERCOLOR 1
(FA308)
3 Units
An introduction to water-based media with an emphasis
on transparent watercolor. Students learn basic
techniques of surface preparation, paper stretching,
transparent application, graduated washes, dry brush
and wet-into-wet techniques. Subjects include still life,
landscape and the figure.

Course Prerequisite: FA203 or IL216

SENIOR PORTFOLIO 2: ILLUSTRATION
(IL419)
3 Units
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 class
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.

Course Prerequisites: Senior status, Senior Portfolio
1: Illustration and with permission of the advisor

2017-2018 ILLUSTRATION 2017-2018 ILLUSTRATION

STUDIO REQUIREMENTS LIBERAL ARTS REQUIREMENTS

FRESHMAN 1ST SEMESTER Units Prerequisites FRESHMAN 1ST SEMESTER Units Prerequisites
LA101 Wellness: Keys to Balance + Success 3
FD110 Fundamentals of Drawing 2 LA108 English Composition 2 English Diagnostic

FD111 Fundamentals of Figure Drawing 2

FD115 Composition and Color - Traditional 2

FD127 Fundamentals of Digital Imaging 1 2 FRESHMAN 2ND SEMESTER
LA110 Critical Reasoning
FRESHMAN 2ND SEMESTER LA223 Foundations of Western Civilization 2 LA108
3 LA108 or concurrent

FD120 Perspective 2 FD110
FD110, FD111, FD115
FD122 Fundamentals of Painting 2 FD110, FD115, FD127 or SOPHOMORE 1ST SEMESTER
concurrent
FD131 Pictorial Design for Illustration 2 FD110, FD115 AH210 Western Art History 1 3 LA110 or concurrent

FD124 AH210 or concurrent
FD120
FD124 Fundamentals of Illustration 2 FA110, FD111 SOPHOMORE 2ND SEMESTER LA108 or concurrent
FD110, FD111 LA108 or concurrent
FD129 Fundamentals of Digital Imaging 2 2 AH220 Western Art History 2 3 LA108 or concurrent CATALOG

SOPHOMORE 1ST SEMESTER Cognitive Sciences: Pick One 3

LA235 Introduction to Psychology 206

IL210 Rendering 3 LA236 Introduction to Linguistics

IL224 Advanced Perspective For Illustration 3 LA245 Introduction to Philosophy

FA201 Intermediate Figure Drawing 3 JUNIOR 1ST SEMESTER

FA202 Introduction to Figure Painting 3 AH320 Modern & Contemporary 3 AH220 or concurrent

SOPHOMORE 2ND SEMESTER One of the following courses: 3

IL214 Illustration 1 3 FD115, FD120, FD122 LA125 Scientific Anatomy LA108 or concurrent
FA201
FA205 Artistic Anatomy 3 FD127 FD129 LA215 American Culture LA108 or concurrent
FD127 FD129
IL229 Applied Art Reproduction 2 LA231 Mathematics LA108 or concurrent
FD127, FD129
IL223 Words Images and Ideas 3 IL214 or concurrent LA225 Non-Western Cultural Experience LA108 or concurrent
FD127, FD129
JUNIOR 1ST SEMESTER JUNIOR 2ND SEMESTER 3
IL210, Il214, IL216 AH331 History of Illustration 3
GD230 Computer Imaging 3 FD124, FD127, FD129 LAELEC Liberal Arts Elective
GD230
IL216 Illustrative Painting 3

GD231 Internet Design 1 3 SENIOR 1ST SEMESTER

AH420 Aesthetics 3 AH210, AH220, AH320, AH331

JUNIOR 2ND SEMESTER One of the following courses: 3

IL314 Illustration 2 3 LA125 Scientific Anatomy LA108 or concurrent

IL315 Graphic Illustration 1 3 LA215 American Culture LA108 or concurrent

IL330 Digital Painting for Illustration 1 3 LA231 Mathematics LA108 or concurrent

or IL228 Digital Drawing from Observation LA225 Non-Western Cultural Experience LA108 or concurrent

SENIOR 1ST SEMESTER SENIOR 2ND SEMESTER

IL412 Professional Studies 2 Senior Status LA423 Senior Capstone 3 Concurrent w/ IL419

IL416 Illustration 3 - Advanced Studies 3 Senior Status Two of the following courses: 3

IL418 Senior Portfolio 1: Illustration 3 Senior status LA125 Scientific Anatomy 3 LA108 or concurrent

FA308 Watercolor 1 3 FD122 LA215 American Culture LA108 or concurrent

SENIOR 2ND SEMESTER LA231 Mathematics LA108 or concurrent

IL419 Senior Portfolio 2: Illustration 3 IL418 LA225 Non-Western Cultural Experience LA108 or concurrent

ILELEC Illustration Elective 2

STELEC Studio Elective 2

ILLUSTRATION terms and concepts are taught, with projects designed Fundamentals of Figure Drawing I, and Fundamentals ARTISTIC ANATOMY 1
ENTERTAINMENT EMPHASIS to develop practical software skills and aesthetic of Composition and Color. (DP295)
REQUIRED COURSES development. Emphasis is placed upon working 3 Units
with imagery from digital cameras, scanners, and FUNDAMENTALS OF MAYA This course improves the artist’s understanding of the
FUNDAMENTALS OF DRAWING generating original computer graphics. Topics include (FD126) body’s underlying structure while emphasizing accurate
(FD110) photo-retouching, digital drawing and painting, digital 2 Units observation and depiction of the figure. Anatomical
2 Units montage, color modes, and preparing files for printing This course introduces the student to the complex elements such as the skeleton, muscular origins,
This is an introduction to drawing, covering the basic and web based display. interface of Maya, one of the leading software programs insertions and surface landmarks are stressed. Students
technical skills and materials necessary to create in the animation and graphic design industries. Students work directly from the model.
convincing representations of simple or complex still- Primary software: Adobe Photoshop. will learn how to navigate Maya’s interface exploring
life forms. Students are introduced to composition and basic modeling, rigging, lighting, texture, and camera Course prerequisite: Fundamentals of Figure Drawing
the concepts of creating volume and space utilizing PICTORIAL DESIGN FOR ILLUSTRATION set-up. This course is required for every student 2 and Fundamentals of Portrait Drawing
lines as measurement, construction drawing, and value (FD131) majoring in visual communication.
systems. 2 Units FUNDAMENTALS OF FIGURE DRAWING 2
This course introduces 2-D design principles in Course prerequisite: Fundamentals of Drawing,
Course materials: graphite and charcoal. constructing pictorial imagery. The relationship Fundamentals of Figure Drawing I, Fundamentals of (FA201) CATALOG
between the principles of design and formal elements Composition and Color, and Fundamentals of Digital
FUNDAMENTALS OF FIGURE DRAWING of art are addressed, and how these components Imaging. 3 Units
(FD111) apply to composition and illustrative applications.
2 Units Appropriate and effective fusions of form and function FUNDAMENTALS OF DIGITAL IMAGING – Figure drawing from the draped and undraped model, 208
This course is an introduction to drawing the human and illustrative styles and strategies are also explored. ILLUSTRATOR emphasizing accurate representation of surface
form. Students work from the draped and undraped (FD129)
model. Emphasis is on accurate representation of the FUNDAMENTALS OF PERSPECTIVE 2 Units anatomy, proportion, gesture, weight, balance and
figure utilizing observation with the elements of gesture, (FD120) Lecture and studio course focused on the use vector
measurement, construction line, volume, proportion, 2 Units based imaging software for drawing and design. structure in a variety of drawing media. Drawing from
and surface anatomy. This is an introduction to linear perspective systems. Comprehension of key terms and concepts are taught,
Students explore a variety of basic and complex laws with projects designed to develop practical software the head with an introduction to the general rules of
Course materials: graphite and charcoal. to convey the illusion of three-dimensional forms in skills and aesthetic development. Emphasis is placed
space on a two-dimensional surface. The course stresses upon use of vector drawing tools, stylization techniques, proportion as they relate to portraiture and to the
FUNDAMENTALS OF COMPOSITION + COLOR volume, scale, placement, and direction of forms in a and integration with pixel graphics. Topics include
(FD115) spatial field. simplification of form, technical drawing, pattern investigation of individual features: eyes, nose, mouth,
2 Units creation, and perspective studies.
This course analyzes basic compositional structures Course prerequisite: Drawing Fundamentals and Fund ears, hair and skeletal structure as they relate to the
and presentation approaches from master paintings. of Figure Drawing or taken concurrently Primary software: Adobe Illustrator.
Students will investigate how artists use color to entire human head.
achieve order, balance, and unity. Students will also FUNDAMENTALS OF ILLUSTRATION FUNDAMENTALS OF PAINTING
learn practical application of formal pictorial elements, (FD124) (FD122) Course Prerequisites: FD110,FD111
such as line, value, hue, temperature, edge relationship, 2 Units 2 Units
emphasis, and eye path to create visual equilibrium. In this course students are introduced to the role of This course is an introduction to the basic skills, tools, FUNDAMENTALS OF FIGURE PAINTING 1
the illustrator and how the illustrator works. Through materials, and techniques used in painting with oils. The (FA202)
Course materials: graphite, charcoal, and oil paint. directed class assignments, students are exposed to student paints from direct observation, primarily using 3 Units
fundamental principles and practices of illustration. the still life as subject matter. Emphasis is on solving An introduction to painting the draped and undraped
FUNDAMENTALS OF DIGITAL IMAGING – PHOTOSHOP Methods, processes, and techniques of visually the problems of representing form in space by applying life model with emphasis on direct observation and
(FD127) communicating ideas are explored. Students learn how the elements of composition, perspective, value, and accurate representation. Students learn to convincingly
2 Units to acquire and properly use reference material, develop color. Topics include preparing supports for painting depict the life model through the study of light sources,
Lecture and studio course introducing principles of the sketch, visually express imagery, and formulate a and various painting techniques. color palettes and compositional devices using various
creative visualization with the use of the computer and finished illustration. painting techniques. An Introduction to portrait painting
pixel based imaging software. Comprehension of key Course prerequisite: Fundamentals of Drawing, with an emphasis on accurate representation of the
Course prerequisite: Fundamentals of Drawing, Fundamentals of Figure Drawing I, and Fundamentals head and upper torso.
of Composition and Color.
Course Prerequisites: FD110,FD111

VISUAL STORYTELLING FOR ENTERTAINMENT
(IL218)
3 Units
This course focuses on storytelling with pictures.
Students learn the relationship between character and
story development and how to compose images and
arrange them in sequence to present a coherent and

emotionally effective story. Students also work on WORDS IMAGES AND IDEAS create original worlds and environments for film, of finding work; printing promotional collateral; setting
public speaking skills by pitching their stories to the (IL223) television and interactive media. Emphasis is placed up a working studio; legal and pricing guidelines and
class. This course is preparation for Storyboarding for 3 Units on composition, mood, environment and conceptual billing clients, contracts and professional organizations.
Entertainment This course gives the illustrator hands-on opportunities design. Photographic techniques and use of the camera Includes guest artists and field trips to art studios,
to explore the interaction of words and images. Students are also explored. agencies and art directors.
Course Prerequisites: Foundation courses and will learn basic principles of type and it’s role in visual
Fundamentals of Animation communication and historical context. The goal of this Course prerequisites: Visual Storytelling, Environment Course prerequisite: Senior status
course is to bridge the gap between the conventional Design for Entertainment and Computer Imaging
ENVIRONMENT DESIGN FOR ENTERTAINMENT graphic use of type and current illustrative trends and SENIOR PORTFOLIO 1: ILLUSTRATION
(IL235) methods. FIGURE PAINTING 2
3 Units (FA206) (IL418)
This course revolves around design and illustration This course will encourage experimentation with 3 Units
and how different spaces are created for performance, type and text as a central component of narrative art, This class is a 3 unit studio painting course that gives an 3 Units
presentation and other forms of entertainment where which includes, book, comics, editorial / advertising in-depth study of color and how it applies to the figure
the audience relates to an environment. Students illustration, and posters. and it’s environment. Emphasis is placed on the building A directed studies course that provides—through faculty
are offered an introduction to the varied techniques of figurative paintings and how to unify the artist’s
needed to design and illustrate environments that can STORYBOARDING FOR ENTERTAINMENT palette to achieve harmony and color balance. Students supervision—the time, opportunity and advisement
be wholly realized, including set design and staging, (IL235) are encouraged to explore imaginative compositional
lighting techniques, limitation of materials and, most 3 Units responses while working from life. for each student to create the physical pieces that will
importantly, storytelling. The student learns to develop and create a sequential
series of staged drawings—that is, the visual script Course prerequisites: FA201, FA202 become the core of their first working portfolio. The class CATALOG
ANIMAL DRAWING 1 of each scene in a film. The course covers how to
(AN220) effectively portray the essence of a story by means DIGITAL PAINTING FOR ILLUSTRATION 1 is offered as a transition from the academic experience
3 Units of quick and accurate sketches. A brief overview of (IL330)
In the studio and on location, students study and draw script writing is included. The script’s plot, situations and 3 Units to a professional life as an illustrator. Students select 210
a variety of domestic and zoo animals. Emphasis is on conflict are developed from rough sketches to finished This course teaches skills in the use of appropriate their own topic or theme for a body of work, the
3D form analysis: proportion, scale, foreshortening and presentations. This course also examines staging, Mac-based software as a tool in creating editorial,
weight. Using an economy of line and value, students cinematography, drama, action notes, dialogue, pacing, entertainment and advertising illustrations. Students progress of which will be monitored through individual
strive to capture emotion and expression of animal timing and sequencing the story’s action. draw directly on the computer or manipulate scanned
forms by depicting gesture, manner, attitude and drawings, paintings, photographs and video images to appointments between the student and Senior Portfolio
rhythm. Comparative studies of animal and human Course prerequisite: Visual Storytelling produce individualized illustrations.
anatomy empower students with strong, imaginative faculty. Intensive group critiques are spaced throughout
drawing skills. COMPUTER IMAGING DIGITAL DRAWING FROM OBSERVATION
(IL230) (IL228) the term to allow for class interaction.
Course prerequisites: Foundation courses 3 Units 3 Units
A comprehensive exploration of digital image making. A comprehensive examination of digital drawing and Course prerequisites: Senior status and with permission
CHARACTER DESIGN 1 This course examines both “paint” (raster) and “draw” painting from observation. This course explores the of the advisor.
(AN215) (vector) imaging. The use of non-digital images such as possibilities in the use of technology as it applies to
3 Units drawings or photographs is also examined. observational drawing and painting. Students employ ILLUSTRATION 3: ADVANCED STUDIES
The objective of this class is to design model sheets the use of a laptop, software, Wacom tablet and stylis. (IL416)
of unique and dynamic animated characters. Students Course prerequisites: Fundamentals of Digital 3 Units
begin with preliminary sketches and construction Imaging: Photoshop and Fundamentals of Digital PROFESSIONAL STUDIES Illustration 3 is a “wildcard” course where a student
drawings and continue to develop turnarounds, facial Imaging: Illustrator (IL412) works with a faculty of choice within the illustration
expressions and strong poses. A variety of styles are 1 Units major. Students develop and expand concepts and skills
explored. Emphasis is on working from imagination and DIGITAL MATTE PAINTING FOR ENTERTAINMENT This lecture course introduces the student to small related to their senior project and to further supplement
strengthening drawing skills. (IL340) business practices that help bridge the gap between that body of work. With approval from their advisor
3 Units the educational experience and the professional world. and faculty, the student can present work created in
Course prerequisites: Foundation courses In this course, students learn advanced techniques Topics include self-promotion; processes and intricacies illustration 3 at senior portfolio 1 or portfolio 2 critiques
using Photoshop and digital painting methods to to receive senior class interaction.

Course prerequisites: Senior status and enrollment in
senior portfolio 1 or 2

ADVANCED PERSPECTIVE FOR ILLUSTRATION
(IL224)
3 Units
FD120
This courses 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 a survey course with firm structure and direction with COMIC BOOK/GRAPHIC NOVEL emphasize making commissioned artwork for the retail CATALOG
to accurately conceive and create environments from opportunity for personal development. (IL324) marketplace.
imagination using quick-sketch empirical methods in Course prerequisite: FA203 3 Units
addition to traditional mechanical processes covered An advanced and comprehensive study of the specialized Course prerequisite: Graphic Illustration 2
in fundamentals of perspective CHILDREN’S BOOK ILLUSTRATION fields of comic book art and the graphic novel. Students
(IL319) explore the specialized skills of penciling, inking and SPECIAL TOPICS: EDITORIAL ILLUSTRATION
SENIOR PORTFOLIO 2: ILLUSTRATION 3 Units colorization. This course leads to the knowledge and (IL493)
(IL419) An advanced and comprehensive study of children’s ability to self-publish and covers a broad variety of 3 Units
3 Units book art and publishing. Students are encouraged genres within the world of comics. A continuation of Illustration 2. Students refine previous
A directed studies course that provides—through faculty to seek out and develop their own personal stylistic methods, processes and techniques and work on a
supervision—the time, opportunity and advisement interpretations of editorial and narrative content. Course prerequisites: Rendering or Visual Storytelling series of illustrations that emphasize making personal
for each student to create the physical pieces that will A preparatory course in the commitment to this statements and exploring a particular direction in
become the core of their first working portfolio. The class specialized area of illustration. INTERNSHIP: ILLUSTRATION editorial illustration. Students select their own media
is offered as a transition from the academic experience (INT401) and develop a consistent style appropriate to their own
to a professional life as an illustrator. Students select Course prerequisites: Rendering and Illustration 1: Color 1-3 Units direction.
their own topic or theme for a body of work, the Through contractual arrangements with art directors,
progress of which will be monitored through individual MURAL PAINTING 1 + 2 advertising agencies, practicing artists, graphic Course prerequisite: Editorial Illustration 2
appointments between the student and Senior Portfolio (DAI320 And DAI420) designers, illustrators and the faculty advisor, the
faculty. Intensive group critiques are spaced throughout 3 Units student is given the opportunity to work in the 212
the term to allow for class interaction. All coursework This is a class in the design and execution of large-scale professional environment of his/her choice. This
is done outside the classroom. paintings as it applies to mural art. The class develops experience allows for hands-on development in the COMPUTER ILLUSTRATION 2
team skills with a finished mural on campus as a final professional setting. Note: Documentation and contract (IL430)
Course prerequisites: Senior status, Senior Portfolio 1: product. As a team, we explore concept development in must be signed and submitted prior to the first day 3 Units
Illustration and with permission of the advisor relation to location and narrative as it applies to product. of the internship. No internship credit can be given Further study in developing skills on the computer
We also utilize tactile and digital skills for compositing retroactively. in direct drawing and painting of images to produce
ILLUSTRATION the rough design concepts and scale up the final design individual work.
ELECTIVES for execution and completion. All issues of mural Course prerequisites: Senior status and with permission
conceptualization, design development, presentation, of the advisor Course prerequisite: Computer Illustration 1
WATERCOLOR 2 client considerations, image responsibility, pricing,
(FA406) preparation and graffiti coatings protection are covered. EDITORIAL ILLUSTRATION 2 ARTIST AS BRAND
3 Units (IL413) (IL326)
Further development of water-based media. Students Course prerequisites: Fundamentals of Figure Drawing 3 Units 3 Units
are encouraged to work from still life, photographs, 2, Fundamentals of Figure Painting 1 and Fundamentals A continuation of Illustration 2. Students refine previous The goal of this class is to align your talent with your
imagination and to pursue individual projects. Students of Portrait Drawing 1 methods, processes and techniques and work on a heart, to create products/services out of your unique
are further encouraged to explore the expressive and series of illustrations that emphasize making personal personal vision and, finally, to market these gifts to
stylistic ranges of traditional and opaque watercolors. FANTASY ART statements and exploring a particular direction in the world through high-tech or high-touch venues. This
(IL316) editorial illustration. Students select their own media course offers insight on becoming an empowered artist
Course prerequisite: FA308 3 Units and develop a consistent style appropriate to their own and entrepreneur.
An advanced and comprehensive study of fantastic direction.
MATERIALS AND TECHNIQUES 1 art as it relates to the entertainment and print media
(FA301) fields. Science fiction and fantasy art are studied in the Course prerequisite: Illustration 2
3 Units contexts of specific historic and contemporary periods.
Study of traditional and contemporary drawing and Students conceptualize, design and produce fantastic GRAPHIC ILLUSTRATION 2
painting materials and techniques. Students experience and fictional content using a variety of drawing and (IL415)
a variety of dry and wet media . Topics include charcoals, painting methods. Topics covered include exaggerated 3 Units
graphite, oil and acrylic paint, mediums, solvents, canvas anatomy and imaginative creatures, worlds and A continuation of Graphic Illustration I. Students
and surface preparation, stretching and framing. This is environments. refines previous methods, processes and techniques
and work on a series of illustrations and designs that
Course prerequisite: Artistic Anatomy

2017-2018 ILLUSTRATION WITH ENTERTAINMENT EMPHASIS 2017-2018 ILLUSTRATION WITH ENTERTAINMENT EMPHASIS

STUDIO REQUIREMENTS LIBERAL ARTS REQUIREMENTS

FRESHMAN 1ST SEMESTER Units Prerequisites FRESHMAN 1ST SEMESTER Units Prerequisites
LA101 Wellness: Keys to Balance + Success 3
FD110 Fundamentals of Drawing 2 LA108 English Composition 2 English Diagnostic

FD111 Fundamentals of Figure Drawing 2

FD115 Composition and Color - Traditional 2

FD127 Fundamentals of Digital Imaging 1 2 FRESHMAN 2ND SEMESTER
LA110 Critical Reasoning
FD131 Pictorial Design for Illustration 2 LA223 Foundations of Western Civilization 2 LA108
3 LA108 or concurrent

FRESHMAN 2ND SEMESTER 2 FD110 SOPHOMORE 1ST SEMESTER
FD120 Perspective 2 FD110, FD115
FD124 Fundamentals of Illustration 2 AH210 Western Art History 1 3 LA110 or concurrent
FD126 Fund of Maya 2 FD127 or concurrent
FD129 Fundamentals of Digital Imaging 2 2 FD110, FD111, FD115 AH210 or concurrent
FD122 Fundamentals of Painting
SOPHOMORE 2ND SEMESTER LA108 or concurrent
LA108 or concurrent
AH220 Western Art History 2 3 LA108 or concurrent CATALOG

Cognitive Sciences: Pick One 3

SOPHOMORE 1ST SEMESTER LA235 Introduction to Psychology 214
FA205 Artistic Anatomy
FA201 Intermediate Figure Drawing 3 FA201 (CONCURRENT) LA236 Introduction to Linguistics
FA202 Introduction to Figure Painting 3 FD110, FD111
IL224 Advance Perspective For Illustration 3 FD110, FD111 LA245 Introduction to Philosophy
3 FD120
JUNIOR 1ST SEMESTER

AH320 Modern & Contemporary 3 AH220 or concurrent

SOPHOMORE 2ND SEMESTER One of the following courses: 3

IL218 Visual Storytelling for Entertainment 3 FD110, FD111, FD115, FD120 LA125 Scientific Anatomy LA108 or concurrent
FD110, FD111, FD115, FD120,
IL234 Environment Design for Entertainment 3 FD122 LA215 American Culture LA108 or concurrent
FD110, FD111
FD110, FD111, FD120 LA231 Mathematics LA108 or concurrent

AN220 Animal Drawing 1 3 LA225 Non-Western Cultural Experience LA108 or concurrent

AN215 Character Design 1 3 JUNIOR 2ND SEMESTER
AH331 History of Illustration
JUNIOR 1ST SEMESTER LAELEC Liberal Arts Elective 3
3
IL223 Words Images and Ideas (typography for Illustration) 3 FD127, FD129
IL218
IL325 Storyboarding for Entertainment - Live Action Film + TV 3 FD127, FD129 SENIOR 1ST SEMESTER

GD230 Computer Imaging 3 GD230 AH420 Aesthetics 3 AH210, AH220, AH320, AH331
FA201, FA202
GD230 One of the following courses: 3

JUNIOR 2ND SEMESTER LA125 Scientific Anatomy LA108 or concurrent

IL340 Digital Matte Painting for Entertainment 3 LA215 American Culture LA108 or concurrent

FA206 Color and Figuration: Intermediate Figure Painting 3 LA231 Mathematics LA108 or concurrent

IL330 Digital Painting for Illustration 3 LA225 Non-Western Cultural Experience LA108 or concurrent

or IL228 Digital Drawing from Observation

SENIOR 1ST SEMESTER SENIOR 2ND SEMESTER

IL412 Professional Studies 2 Senior Status LA423 Senior Capstone 3 Concurrent w/ IL419

IL418 Senior Portfolio 1: Illustration 3 Senior Status Two of the following courses: 3

IL416 Illustration 3 - Advanced Studies in Entertainment Art 3 Senior Status LA125 Scientific Anatomy 3 LA108 or concurrent

ILELEC Illustration Entertainment Elective 2 LA215 American Culture LA108 or concurrent

SENIOR 2ND SEMESTER LA231 Mathematics LA108 or concurrent

LA225 Non-Western Cultural Experience LA108 or concurrent

IL419 Senior Portfolio 2: Illustration 3 IL418

ILELEC Illustration Entertainment Elective 2

ILLUSTRATION to develop practical software skills and aesthetic FUNDAMENTALS OF ILLUSTRATION emphasizing accurate representation of surface
DRAWING + PAINTING EMPHASIS development. Emphasis is placed upon working (FD124) anatomy, proportion, gesture, weight, balance and
REQUIRED COURSES with imagery from digital cameras, scanners, and 2 Units structure in a variety of drawing media. Drawing from
generating original computer graphics. Topics include In this course students are introduced to the role of the head with an introduction to the general rules of
FUNDAMENTALS OF DRAWING photo-retouching, digital drawing and painting, digital the illustrator and how the illustrator works. Through proportion as they relate to portraiture and to the
(FD110) montage, color modes, and preparing files for printing directed class assignments, students are exposed to investigation of individual features: eyes, nose, mouth,
2 Units and web based display. fundamental principles and practices of illustration. ears, hair and skeletal structure as they relate to the
This is an introduction to drawing, covering the basic Methods, processes, and techniques of visually entire human head.
technical skills and materials necessary to create Primary software: Adobe Photoshop. communicating ideas are explored. Students learn how
convincing representations of simple or complex still- to acquire and properly use reference material, develop Course prerequisites: FD110, FD111
life forms. Students are introduced to composition and FUNDAMENTALS OF PERSPECTIVE the sketch, visually express imagery, and formulate a
the concepts of creating volume and space utilizing (FD120) finished illustration. FUNDAMENTALS OF FIGURE PAINTING 1
lines as measurement, construction drawing, and value 2 Units
systems. This is an introduction to linear perspective systems. Course prerequisite: Fundamentals of Drawing, (FA202)
Students explore a variety of basic and complex laws Fundamentals of Figure Drawing I, and Fundamentals
Course materials: graphite and charcoal. to convey the illusion of three-dimensional forms in of Composition and Color. 2 Units
space on a two-dimensional surface. The course stresses
FUNDAMENTALS OF FIGURE DRAWING volume, scale, placement, and direction of forms in a FUNDAMENTALS OF DIGITAL IMAGING – ILLUSTRATOR An introduction to painting the draped and undraped CATALOG
(FD111) spatial field. (FD129)
2 Units 2 Units life model with emphasis on direct observation and
This course is an introduction to drawing the human Course prerequisite: Drawing Fundamentals and Fund Lecture and studio course focused on the use vector
form. Students work from the draped and undraped of Figure Drawing or taken concurrently based imaging software for drawing and design. accurate representation. Students learn to convincingly 216
model. Emphasis is on accurate representation of the Comprehension of key terms and concepts are taught, depict the life model through the study of light sources,
figure utilizing observation with the elements of gesture, FUNDAMENTALS OF PAINTING with projects designed to develop practical software
measurement, construction line, volume, proportion, (FD122) skills and aesthetic development. Emphasis is placed color palettes and compositional devices using various
and surface anatomy. 2 Units upon use of vector drawing tools, stylization techniques,
This course is an introduction to the basic skills, tools, and integration with pixel graphics. Topics include painting techniques. An Introduction to portrait painting
Course materials: graphite and charcoal. materials, and techniques used in painting with oils. The simplification of form, technical drawing, pattern
student paints from direct observation, primarily using creation, and perspective studies. with an emphasis on accurate representation of the
FUNDAMENTALS OF COMPOSITION + COLOR the still life as subject matter. Emphasis is on solving
(FD115) the problems of representing form in space by applying Primary software: Adobe Illustrator. head and upper torso.
2 Units the elements of composition, perspective, value, and
This course analyzes basic compositional structures color. Topics include preparing supports for painting ARTISTIC ANATOMY 1 Course prerequisites: FD110, FD111
and presentation approaches from master paintings. and various painting techniques. (FA205)
Students will investigate how artists use color to 3 Units WORDS IMAGES AND IDEAS
achieve order, balance, and unity. Students will also Course prerequisite: Fundamentals of Drawing, FA201 (IL223)
learn practical application of formal pictorial elements, Fundamentals of Figure Drawing I, and Fundamentals This course improves the artist’s understanding of the 3 Units
such as line, value, hue, temperature, edge relationship, of Composition and Color. body’s underlying structure while emphasizing accurate This course gives the illustrator hands-on opportunities
emphasis, and eye path to create visual equilibrium. observation and depiction of the figure. Anatomical to explore the interaction of words and images. Students
PICTORIAL DESIGN FOR ILLUSTRATION elements such as the skeleton, muscular origins, will learn basic principles of type and it’s role in visual
Course materials: graphite, charcoal, and oil paint. (FD131) insertions and surface landmarks are stressed. Students communication and historical context. The goal of this
2 Units learn anatomy by drawing individual parts of the figure course is to bridge the gap between the conventional
FUNDAMENTALS OF DIGITAL IMAGING – PHOTOSHOP This course introduces 2-D design principles in that begins with the skeleton followed by studying the graphic use of type and current illustrative trends and
(FD127) constructing pictorial imagery. The relationship major muscles of the human figure. methods.
2 Units between the principles of design and formal elements
Lecture and studio course introducing principles of of art are addressed, and how these components INTERMEDIATE FIGURE DRAWING This course will encourage experimentation with
creative visualization with the use of the computer and apply to composition and illustrative applications. (FA201) type and text as a central component of narrative art,
pixel based imaging software. Comprehension of key Appropriate and effective fusions of form and function 3 Units which includes, book, comics, editorial / advertising
terms and concepts are taught, with projects designed and illustrative styles and strategies are also explored. Figure drawing from the draped and undraped model, illustration, and posters.

Course prerequisites: Foundation courses

RENDERING
(IL210)
3 Units
An intensive study of graphic visualization for
convincing representation. An introduction to light
logic and the application of a variety of black +
white and color media to produce highly refined and

visually accurate drawings and paintings. Emphasis is COLOR AND FIGURATION: INTERMEDIATE FIGURE call attention to services or institutions. The goal of COMPUTER IMAGING CATALOG
on a realistic fidelity in the representation of nature PAINTING this course is to prepare artists to work professionally (GD230)
and man-made objects through the careful study of (FA206) with clients in the marketplace. Assignments include 3 Units
structure, surface and lighting influences. 3 Units advertising illustrations that might appear in commercial Computer Imaging is a studio course in digital image
This class is a 3 unit studio painting course that gives an collaterals such as magazines, newspapers, billboards, making. Students are challenged to create thought
Course prerequisites: Foundation courses in-depth study of color and how it applies to the figure posters, brochures, pamphlets, television, print or on provoking and visually stimulating work while learning
and it’s environment. Emphasis is placed on the building websites. Emphasis is on the working relationship to use the computer as a versatile tool for creation
PAINTING 2 of figurative paintings and how to unify the artist’s between art director and illustrator and directly and manipulation. A range of projects is developed
(FA203) palette to achieve harmony and color balance. Students between the client and illustrator. while students consider the role of literal and implicit
3 Units are encouraged to explore imaginative compositional communication, aesthetics and emotional impact.
This painting course emphasizes perception, responses while working from life. Course prerequisite: Illustration 1: Color
composition and accurate representation. Students paint Course prerequisites: Fundamentals of Digital
primarily from observation, but also in combination Course prerequisites: FA201, FA202 ADVANCED FIGURE PAINTING 1 Imaging: Photoshop and Fundamentals of Digital
with photographic sources. Subject matters include still (FA305) Imaging: Illustrator
life and landscape. Students develop a small series of ILLUSTRATIVE PAINTING 3 Units
person work that relates to the course. (IL216) An opportunity for students to work intensively from Computer applications: Adobe Photoshop, Adobe
3 Units the life model. This course enables the advanced student Illustrator and an introduction to Macromedia Flash
Course prerequisite: FD122 An exploration of the chemistry of color mediums and an to focus on value and color relationships and how the
experimentation with possible handling techniques as function of light dictates the relationships we see. 218
ADVANCED FIGURE DRAWING 1 they relate to the finished composition. Compositional
(FA301) emphasis is on using the human form from life and Course prerequisite: FA206 PROFESSIONAL STUDIES
3 Units reference material as it relates to each assignment. (IL412)
Continued perceptual study of the human form. Students develop skills in the areas of reference WATERCOLOR 1 1 Units
This course investigates gesture, movement, spatial photography and lighting as they relate to working with (FA308) This lecture course introduces the student to small
relationships, foreshortening, anatomical studies, light models. Knowledge is gained in the areas of application, 3 Units business practices that help bridge the gap between the
and shade, composition, color harmony and the figure in handling, surfaces, color palette development, narrative, An introduction to water-based media with an emphasis educational experience and the professional world of
environment. Students learn to make visual and artistic concept and composition. on transparent watercolor. Students learn basic the illustrator. Topics include self-promotion; processes
decisions in the context of historical and contemporary techniques of surface preparation, paper stretching, and intricacies of finding work; printing of promotional
figure drawing styles. Course prerequisites: Foundation courses and transparent application, graduated washes, dry brush collateral; setting up a working studio; legal and pricing
Illustration 1: Color or concurrent in Illustration 1: and wet-into-wet techniques. Subjects include still life, guidelines and billing clients, contracts and professional
Course prerequisites: FA201, FA202 Color landscape and the figure. organizations. Includes guest artists and field trips to
art studios, agencies and art directors.
ILLUSTRATION 1: COLOR ILLUSTRATION 2 Course prerequisite: FA203 or IL216
(IL214) (IL314) Course prerequisite: Senior status
3 Units 3 Units ADVANCED PERSPECTIVE FOR ILLUSTRATION
This course focuses on the advanced implementation An advanced course that focuses on narrative and (IL224) SENIOR PORTFOLIO 1: ILLUSTRATION
of color and how it can effectively function within a editorial issues. Students use existing topics as reference 3 Units (IL418)
image. Various color solutions are examined to visually to create inventive and impactful visual solutions for FD120 3 Units
maximize a story, concept or design. The creation of various commercial applications. Creative processes This courses is designed to further develop the students A directed studies course that provides—through faculty
narrative and symbolic image making are encouraged include both digital and traditional methods. understanding of perspective. Areas covered will supervision—the time, opportunity and advisement
and explored using various mediums that including include multipoint and curvilinear perspective, cast for each student to create the physical pieces that will
gouache and acrylic paints. Students will be encouraged Course prerequisite: Illustration 1: Color shadows, reflections, forced perspective and distortion. become the core of their first working portfolio. The class
to explore imaginative compositional solutions while is offered as a transition from the academic experience
working from references. GRAPHIC ILLUSTRATION 1 The goal of this course is to further the students ability to a professional life as an illustrator. Students select
(IL315) to accurately conceive and create environments from their own topic or theme for a body of work, the
Course prerequisites: Foundation courses 3 Units imagination using quick-sketch empirical methods in progress of which will be monitored through individual
This course focuses on the production of illustrations addition to traditional mechanical processes covered appointments between the student and Senior Portfolio
that promote sales, recognize commercial products or in fundamentals of perspective faculty. Intensive group critiques are spaced throughout
the term to allow for class interaction. All coursework
is done outside the classroom.

Course prerequisites: Senior status and with permission CATALOG
of the advisor
220
DIGITAL PAINTING FOR ILLUSTRATION 1
(IL330)
3 Units
This course teaches skills in the use of appropriate
Mac-based software as a tool in creating editorial,
entertainment and advertising illustrations. Students
draw directly on the computer or manipulate scanned
drawings, paintings, photographs and video images to
produce individualized illustrations.

Course prerequisite: Computer Imaging

SENIOR PORTFOLIO 2: ILLUSTRATION
(IL419)
3 Units
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 class
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.

Course prerequisites: Senior status and with permission
of the advisor

2017-2018 ILLUSTRATION WITH DRAWING + PAINTING EMPHASIS 2017-2018 ILLUSTRATION WITH DRAWING + PAINTING EMPHASIS

STUDIO REQUIREMENTS LIBERAL ARTS REQUIREMENTS

FRESHMAN 1ST SEMESTER Units Prerequisites FRESHMAN 1ST SEMESTER Units Prerequisites

FD110 Fundamentals of Drawing 1 2 LA101 Wellness: Keys to Balance + Success 3

FD111 Fundamentals of Figure Drawing 2 LA108 English Composition 2 English Diagnostic

FD115 Composition and Color- Traditional 2 One of the following courses: 3

FD127 Fundamentals of Digital Imaging 1 2 LA125 Scientific Anatomy LA108 or concurrent

FRESHMAN 2ND SEMESTER LA215 American Culture LA108 or concurrent

LA231 Mathematics LA108 or concurrent

FD120 Perspective 2 FD110 LA225 Non-Western Cultural Experience LA108 or concurrent
FD110, FD111, FD115
FD122 Fundamentals Painting 2 FD110, FD115, FD127 or
concurrent
FD131 Pictorial Design for Illustration 2 FD110, FD115 FRESHMAN 2ND SEMESTER
LA110 Critical Reasoning
FA201 LA223 Foundations of Western Civilization 2 LA108
FD110, FD111 3 LA108 or concurrent
FD124 Fundamentals of Illustration 2 FD110, FD111
FD124
FD129 Fundamentals of Digital Imaging 2 2 SOPHOMORE 1ST SEMESTER

SOPHOMORE 1ST SEMESTER AH210 Western Art History 1 3 LA110 or concurrent CATALOG

FA205 Artistic Anatomy 1 3 AH210 or concurrent

FA201 Intermediate Figure Darwing 3 SOPHOMORE 2ND SEMESTER LA108 or concurrent 222
LA108 or concurrent
FA202 Intro to Figure Painting 3 AH220 Western Art History 2 3 LA108 or concurrent

IL210 Rendering 3 Cognitive Sciences: Pick One 3

LA235 Introduction to Psychology

SOPHOMORE 2ND SEMESTER LA236 Introduction to Linguistics

IL214 Illustration 1 3 FD115, FD120, FD122 LA245 Introduction to Philosophy
FD122
FA203 Painting 2 3 FA201, FA202 JUNIOR 1ST SEMESTER

FA301 Advanced Figure Drawing 3 FA201, FA202 AH320 Modern & Contemporary 3 AH220 or concurrent
IL214 or concurent
JUNIOR 1ST SEMESTER FD127, FD129 One of the following courses: 3
FD120
FA206 Color and Figuration: Intermediate Figure Painting 3 LA125 Scientific Anatomy LA108 or concurrent
FD127, FD129
IL216 Illustrative Painting 3 IL210, Il214, IL216 LA215 American Culture LA108 or concurrent
FD124, FD127, FD129
GD230 Computer Imaging 3 LA231 Mathematics LA108 or concurrent

IL224 Advanced Perspective For Illustration 3 LA225 Non-Western Cultural Experience LA108 or concurrent

JUNIOR 2ND SEMESTER
AH331 History of Illustration
JUNIOR 2ND SEMESTER LAELEC Liberal Arts Elective 3
3
IL223 Words Images and Ideas 3

ILELEC Illustration Elective 2

IL315 Graphic Illustration 1 3 SENIOR 1ST SEMESTER

SENIOR 1ST SEMESTER AH420 Aesthetics 3 AH210, AH220, AH320, AH331

IL412 Professional Studies 2 Senior Status One of the following courses: 3

IL418 Senior Portfolio 1: Illustration 3 Senior Status LA125 Scientific Anatomy LA108 or concurrent

STELEC Studio Elective 2 LA215 American Culture LA108 or concurrent

IL330 Digital Painting for Illustration LA231 Mathematics LA108 or concurrent

or IL228 Digital Drawing from Observation 3 GD230 LA225 Non-Western Cultural Experience LA108 or concurrent

SENIOR 2ND SEMESTER SENIOR 2ND SEMESTER

ILELEIC Illustration Elective 2 LA423 Senior Capstone 3 Concurrent w/ IL419

IL419 Senior Portfolio 2: Illustration 3 IL418 Two of the following courses: 3

FA308 Watercolor 1 3 FD122 LA125 Scientific Anatomy 3 LA108 or concurrent

or FA307 The Figure in Environments LA215 American Culture LA108 or concurrent

LA231 Mathematics LA108 or concurrent

LA225 Non-Western Cultural Experience LA108 or concurrent

ILLUSTRATION IN ENTERTAINMENT DESIGN FUNDAMENTALS OF DIGITAL IMAGING: PIXELS directed class assignments, students are exposed to software Technical aspects including brush building,
(PHOTOSHOP) fundamental principles and practices of illustration. image manipulation are used in the process of image
FOUNDATION PROGRAM (FD127) Methods, processes, and techniques of visually making.
2 units
communicating ideas are explored. Students learn how
FUNDAMENTALS OF DRAWING Lecture and studio course introducing principles of to acquire and properly use reference material, develop Course prerequisite: Fundamentals of Drawing,
(FD110) creative visualization with the use of the computer and the sketch, visually express imagery, and formulate a Fundamentals of Figure Drawing I, and Fundamentals
2 units
pixel based imaging software. Comprehension of key finished illustration. of Composition and Color
This is an introduction to drawing, covering the basic terms and concepts are taught, with projects designed
technical skills and materials necessary to create to develop practical software skills and aesthetic Course prerequisites: Fundamentals of Drawing, REQUIRED COURSES IN MAJOR
convincing representations of simple or complex still- development. Emphasis is placed upon working Fundamentals of Figure Drawing I, and Fundamentals
life forms. Students are introduced to composition and with imagery from digital cameras, scanners, and of Composition and Color ART OF COSTUME
the concepts of creating volume and space utilizing generating original computer graphics. Topics include



lines as measurement, construction drawing, and value photo-retouching, digital drawing and painting, digital FUNDAMENTALS OF 3-D MAYA (GA320)
systems. montage, color modes, and preparing files for printing (FD126)
and web based display. 2 units
3 units

Course materials: graphite and charcoal.

This course introduces the student to the complex
Primary software: Adobe Photoshop.
interface of 3-D Studio Max, one of the leading software In this course, students explore the art of costume. The
Course prerequisites: None Course prerequisites: None programs in the animation and graphic design industries.
Students will learn how to navigate Maya�??s interface course is, essentially, a short journey through period CATALOG
FUNDAMENTALS OF FIGURE DRAWING 1 PICTORIAL DESIGN FOR ILLUSTRATION exploring basic modeling, rigging, lighting, texture, and
(FD111) (FD131) camera set-up. This course is required for every student history as it applies to costume. Students examine the
2 units
2 units
majoring in visual communication.
This course is an introduction to drawing the human This course introduces 2-D design principles in rendering of draped, multi-textured fabric; pattern 224
form. Students work from the draped and undraped constructing pictorial imagery. The relationship Course prerequisites: Fundamentals of Drawing, repeats in textile art; structural fit and accessories as
model. Emphasis is on accurate representation of the between the principles of design and formal elements Fundamentals of Figure Drawing I, Fundamentals of
figure utilizing observation with the elements of gesture, of art are addressed, and how these components Composition and Color, and Fundamentals of Digital they apply to the character and to the cultural impact
measurement, construction line, volume, proportion, apply to composition and illustrative applications. Imaging - Photoshop
and surface anatomy. Appropriate and effective fusions of form and function on the world of which the character is a part.
and illustrative styles and strategies are also explored. FUNDAMENTALS OF PAINTING
Course materials: graphite and charcoal.
(FD122) Course prerequisite: Fundamentals of Maya
FUNDAMENTALS OF PERSPECTIVE 2 units

Course prerequisites: Fundamentals of Drawing or (FD120) This course is an introduction to the basic skills, tools, FA201 INTERMEDIATE FIGURE DRAWING
concurrent enrollment in Fundamentals of Drawing 2 units
materials, and techniques used in painting with oils. The (FA201)
This is an introduction to linear perspective systems. student paints from direct observation, primarily using 3 units

FUNDAMENTALS OF COMPOSITION & COLOR - Students explore a variety of basic and complex laws the still life as subject matter. Emphasis is on solving Figure drawing from the draped and undraped model,
TRADITIONAL to convey the illusion of three-dimensional forms in the problems of representing form in space by applying emphasizing accurate representation of surface
(FD115) space on a two-dimensional surface. The course stresses the elements of composition, perspective, value, and anatomy, proportion, gesture, weight, balance and
2 units
volume, scale, placement, and direction of forms in a color. Topics include preparing supports for painting structure in a variety of drawing media. Drawing from
This course analyzes basic compositional structures spatial field. and various painting techniques.

the head with an introduction to the general rules of
and presentation approaches from master paintings. proportion as they relate to portraiture and to the
Students will investigate how artists use color to Course prerequisites: Drawing Fundamentals or taken Course prerequisite: Fundamentals of Drawing, investigation of individual features: eyes, nose, mouth,
achieve order, balance, and unity. Students will also concurrently Fundamentals of Figure Drawing I, and Fundamentals ears, hair and skeletal structure as they relate to the
learn practical application of formal pictorial elements, of Composition and Color entire human head.
such as line, value, hue, temperature, edge relationship, FUNDAMENTALS OF ILLUSTRATION
emphasis, and eye path to create visual equilibrium. (FD124) FUNDAMENTALS OF DIGITAL PAINTING Course prerequisite: Foundation courses



Course materials: graphite, charcoal, and oil paint.

2 units
(FD132)
course prerequisite: None In this course students are introduced to the role of 2 units. INTRODUCTION TO FIGURE PAINTING
the illustrator and how the illustrator works. Through This course introduces the student to various digital (FA202)
painting techniques using current digital painting 3 units
An introduction to painting the draped and undraped
life model with emphasis on direct observation and
accurate representation. Students learn to convincingly
depict the life model through the study of light sources,
color palettes and compositional devices using various
painting techniques. An Introduction to portrait painting
with an emphasis on accurate representation of the
head and upper torso.

Course prerequisite: Foundation courses

VISUAL STORYTELLING how things are built and how organic matter behaves; to execute quality portfolio pieces.

3-D DESIGN 2 (INTRODUCTION TO ZBRUSH)
(IL218) visually communicate this through drawings and show (IL212)
3 units
narrative aspects of the design. students will create Course prerequisite: Character Design 1 3 units

This course focuses on storytelling with pictures. sketches and renderings to support a comprehensive In this course students will learn the skills to texture
Students learn the relationship between character theme. Students will obtain a solid understanding of STORYBOARDING FOR ENTERTAINMENT – LIVE ACTION and light objects and characters as well as model more
and story development, and how to compose images how to create original environments. FILM and TV efficiently and accurately. Students will use texture
and arrange them in sequence to present a coherent (IL325) editing systems to adhere and manipulate textures
and emotionally effective story. Students also work Course prerequisite: Foundation 3 units
onto form. Students learn to model in polygons as well
on public speaking skills by pitching their story to the The student learns to develop and create a sequential as model within the surfaces offered within Zbrush
class. This course is preparation for Storyboarding I.

ARTISTIC ANATOMY series of staged drawings (that is, the visual script software (i.e., subdivision surfaces).
(FA205) of each scene in a film). The course covers how to
Course prerequisite: Foundation 3 units
effectively portray the essence of a story by means of Course prerequisite: Fundamentals of Maya
This course improves the artist’s understanding of the quick and accurate sketches. A brief overview of script
ADVANCED PERSPECTIVE FOR ILLUSTRATION body’s underlying structure while emphasizing accurate writing is included. The script’s plot, situations, and ORGANIC 3-D SCULPTURE (ADVANCED ZBRUSH)
(IL224) observation and depiction of the figure. Anatomical conflict are developed from rough sketches to finished
3 units
elements such as the skeleton, muscular origins, presentations. This course also examines staging, (IL401) CATALOG
This courses is designed to further develop the students insertions and surface landmarks are stressed. Students cinematography, drama, action notes, dialogue, pacing,
understanding of perspective. Areas covered will learn anatomy by drawing individual parts of the figure timing, and sequencing the story’s action.

3 units

include multipoint and curvilinear perspective, cast that begins with the skeleton followed by studying the
shadows, reflections, forced perspective and distortion. major muscles of the human figure. Course prerequisite: Visual Storytelling
A continuation of 3-D design 2. Students will gain 226
The goal of this course is to further the students ability further abilities to create fantastical creatures, props
to accurately conceive and create environments from Course prerequisite: Intermediate Figure Drawing DIGITAL MATTE PAINTING FOR ENTERTAINMENT
imagination using quick-sketch empirical methods in (IL340) and objects.
addition to traditional mechanical processes covered CHARACTER DESIGN 1 3 units

in fundamentals of perspective (FD120) (AN215) In the film industry matte paintings today are not Course prerequisite: 3-D design 2
3 units
paintings but seamlessly constructed photograph
CONCEPT DESIGN FOR ENTERTAINMENT This course offers an intense investigation of character composites. The student will learn advance techniques DIGITAL PAINTING FOR ILLUSTRATION
(IL301) design. The objective of this course is to design using Photoshop and digital painting methods to create (IL330)
3 units
model sheets of unique and imaginative animated original worlds and environments for film, television 3 units

An advanced course in visualization, art direction and characters. Students begin with preliminary sketches and interactive medias. Emphasis will be placed on This course teaches skills in the use of appropriate
production design with an emphasis on the organization and construction drawing, and continue to develop composition, mood, environment and conceptual design. Macintosh software as a tool in creating illustrative
of all the pictorial components in a visual system numerous rotation drawings (turnarounds) of facial Photographic techniques and use of the camera will paintings. Students draw directly on the computer or
supporting a narrative content. The conceptualization expressions and a variety of action poses that are also be explored. manipulate scanned drawings, paintings, photographs
of design choices, the calibration of stylistic parameters refined and which eventually lead to more finished and video images to produce individualized illustrations.


and other world building techniques will be explored drawings. A variety of styles are explored. Emphasis Course prerequisite: Visual Storytelling, Environment
through the creation of detailed concept art and the is on working from imagination and strengthening Design For Entertainment and Computer Imaging Course prerequisite: Computer Imaging
elaboration of a complete style guide. drawing skills.
THEMED ENTERTAINMENT DESIGN 1 DIGITAL DRAWING FROM OBSERVATION
Course prerequisite: Il218 Visual Storytelling, IL324 Course prerequisite: Foundation (IL402) (IL228)
Environment Design for Entertainment 3 units 3 units

CHARACTER DESIGN 2 This course explores various places that entertain the A comprehensive examination of digital drawing and
ENVIRONMENT DESIGN FOR ENTERTAINMENT (AN316) public. The goal is to research and envision a desired painting from observation. This course explores the
(IL324) 3 units
experience, and then plan and design a place to achieve possibilities in the use of technology as it applies to
3 units
A continuation of Character Design I. Students create that experience through making of illustrations, props observational drawing and painting. Students will
Conceptual designers skillfully design and illustrate and construct model sheets of unique and imaginative and models using appropriate materials. Places might employ the use of a laptop computer, software and
unique and compelling environments for all kinds of animated characters. The focus is on design uniformity, include, theatrical productions, theme parks, rides, graphics tablet and stylus.
stories and time periods for film production, television, composition, and effective use of color. Personal style performing arts and event venues.
books, theme parks and interactive medias. This and interpretation are developed. Craft and rendering Course prerequisite: Computer Imaging
requires an understanding of basic architecture and techniques are perfected while students strive to

PROFESSIONAL STUDIES the term to allow for class interaction. All coursework or call attention to services or institutions. The goal of Course prerequisite: Rendering
(IL412 is done outside the classroom.

this course is to prepare artists to work professionally
1 units
with clients in the marketplace. Assignments include DRAWING WITH INK CATALOG
Lecture course introduces the student to small business Course prerequisite: Sr. Portfolio 1 - Illustration
advertising illustration that may appear in commercial (IL213)
practices that help bridge the gap between the collaterals such as magazines, newspapers, billboards, 3 units
educational experience and the professional world of ELECTIVES posters, brochures, pamphlets, television, print, or on This course would cover the history of the medium;
the illustrator. Topics include self-promotion, processes web sites. Emphasis is on the working relationship varieties of fluids, tools, and supports and their usage;
and intricacies of finding work, printing of promotional WATERCOLOR 1 between art director and illustrator, and directly and in-class demonstrations. Assignments would include
collateral, setting up a working studio, legal and pricing (FA308) between the client and illustrator.

exercises in hatching and crosshatching, stippling,
guidelines, and billing clients, contracts, and professional 3 units
ink washes with brush, bistre, technical drawing, and
organizations. Includes guest artists and field trips to A comprehensive course covering the skills needed Course prerequisite: Fundamentals of Digital Imaging combining other media with ink.
art studios, agencies, and art directors.

to prepare artwork for print or digital media. The goal 1 and 2
of the class is to effectively interface between the Course prerequisite: Fundamentals of Drawing,
Course prerequisite: Senior status graphic designer, the illustrator, and the printer. Special FANTASY ART Fundamentals of Figure Drawing, Composition &
emphasis is given to relevant traditional production (IL316) Color, Perspective.
SR. PORTFOLIO 1 – ILLUSTRATION ENTERTAINMENT techniques as well as current computer applications and 3 units

DESIGN technology. Current Macintosh software is introduced. An advanced and comprehensive study of fantastic THEMED ENTERTAINMENT DESIGN 2 228
(IL418) Included are field trips to professional service agencies art as it relates to the entertainment and print media (IL403)
3 units
and organizations.
fields. Science fiction and fantasy art will be studied
A directed studies course that provides, through faculty and its context through historic and contemporary 3 units
supervision, the time, opportunity, and advisement Course prerequisite: Foundation periods. Students will conceptualize, design, and
for each student to create the physical pieces that will produce fantastic and fictional content using a variety of This course explores various places that entertain the
become the core of their first working portfolio. The class MATERIALS & TECHNIQUES 1 drawing and painting methods. Topics covered include
is offered as a transition from the academic experience (FA304) exaggerated anatomy and imaginative creatures, public. The goal is to research and envision a desired
to a professional life as an illustrator. Students select 3 units. A study of traditional and contemporary drawing worlds, and environments.


their own topic or theme for a body of work, the and painting materials and techniques. Students experience, and then plan and design a place to achieve
progress of which will be monitored through individual experience a variety of media including silver point, Course prerequisite: Rendering and Color Illustration
appointments between the student and Senior Portfolio oil, and egg tempera. Topics include oil paint, mediums, that experience through making of illustrations, props
faculty. Intensive group critiques are spaced throughout solvents, canvas and panel preparation, paint making, CHILDREN’S BOOK ILLUSTRATION
the term to allow for class interaction. All coursework and permanence.
(IL319) and models using appropriate materials. Places might
is done outside the classroom.

3 units

Course prerequisite: Foundation An advanced and comprehensive study of children’s include, theatrical productions, theme parks, rides,
Course prerequisite: Senior status book art and publishing. Students are encouraged
MATERIALS & TECHNIQUES 2 to seek out and develop their own personal stylistic performing arts and event venues.
SR. PORTFOLIO 2 - ILLUSTRATION ENTERTAINMENT (FA409) interpretations of editorial and narrative content.
DESIGN 3 units
A preparatory course in the commitment to this VEHICLES AND PROPS FOR ENTERTAINMENT
(IL419) Further study of drawing and painting techniques. An specialized area of illustration.

(IL404)
3 units
extensive exploration into more advanced materials: 3 units
A directed studies course that provides, through faculty silver point, acrylic, oil, alkyd, watercolor, encaustic, Course prerequisite: Rendering and Color Illustration
or
supervision, the time, opportunity, and advisement and egg tempera are undertaken. Students focus on a THEMED ENTERTAINMENT DESIGN 2
for each student to create the physical pieces that will particular technique.

COMIC BOOK/GRAPHIC NOVEL (0000)
become the core of their first working portfolio. The class (IL324) 3 units
is offered as a transition from the academic experience Course prerequisite: Materials and Techniques 1 3 units
In this course students will conceive, design and
to a professional life as an illustrator. Students select An advanced and comprehensive study of the specialized illustrate content, specifically vehicles and props using
their own topic or theme for a body of work, the GRAPHIC ILLUSTRATION 1 field of comic book art and the graphic novel. Students both traditional and digital methods. Content created
progress of which will be monitored through individual (IL315) explore the specialized skills of penciling, inking, and will be used within the visual development processes
appointments between the student and Senior Portfolio 3 units
colorization. This course leads to the knowledge and for a variety of visual storytelling applications.
faculty. Intensive group critiques are spaced throughout This course focuses on the production of illustrations ability to self-publish, and covers a broad variety of
that promote sales, recognize commercial products, genres within the world of Comics.

2017-2018 ILLUSTRATION ENTERTAINMENT DESIGN 2017-2018 ILLUSTRATION ENTERTAINMENT DESIGN

STUDIO REQUIREMENTS LIBERAL ARTS REQUIREMENTS

FRESHMAN 1ST SEMESTER Units Prerequisites FRESHMAN 1ST SEMESTER Units Prerequisites
LA101 Wellness: Keys to Balance + Success 3
FD110 Fundamentals of Drawing 2 LA108 English Composition 2 English Diagnostic

FD111 Fundamentals of Figure Drawing 2

FD115 Composition and Color - Traditional 2

FD127 Fundamentals of Digital Imaging 1 2 FRESHMAN 2ND SEMESTER
LA110 Critical Reasoning
FD131 Pictorial Design for Illustration 2 LA223 Foundations of Western Civilization 2 LA108
3 LA108 or concurrent

FRESHMAN 2ND SEMESTER 2 FD110 SOPHOMORE 1ST SEMESTER
FD120 Perspective 2 FD110, FD115
FD124 Fundamentals of Illustration 2 AH210 Western Art History 1 3 LA110 or concurrent
FD126 Fund of Maya 2 FD110, FD111, FD115
FD122 Fundamentals of Painting AH210 or concurrent

SOPHOMORE 2ND SEMESTER LA108 or concurrent
LA108 or concurrent
AH220 Western Art History 2 3 LA108 or concurrent CATALOG

SOPHOMORE 1ST SEMESTER Cognitive Sciences: Pick One 3
FA205 Artistic Anatomy
FA201 Intermediate Figure Drawing 3 FA201 (CONCURRENT) LA235 Introduction to Psychology 230
FA202 Introduction to Figure Painting 3 FD110, FD111
IL224 Advance Perspective For Illustration 3 FD110, FD111 LA236 Introduction to Linguistics
3 FD120
LA245 Introduction to Philosophy

JUNIOR 1ST SEMESTER

SOPHOMORE 2ND SEMESTER AH320 Modern & Contemporary 3 AH220 or concurrent

IL218 Visual Storytelling for Entertainment 3 FD110, FD111, FD115, FD120 One of the following courses: 3

IL234 Environment Design for Entertainment 3 FD110, FD111, FD115, FD120, LA125 Scientific Anatomy LA108 or concurrent

FD122 LA215 American Culture LA108 or concurrent

GA230 Art of Costume 3 ??? LA231 Mathematics LA108 or concurrent

XXX 3-D Design 2 3 FD126 LA225 Non-Western Cultural Experience LA108 or concurrent

JUNIOR 1ST SEMESTER JUNIOR 2ND SEMESTER 3
AH331 History of Illustration 3
L340 Digital Matte Painting for Entertainment - 3 FD127, FD129 LAELEC Liberal Arts Elective

Live Action TV and Film

IL325 Storyboarding for Entertainment - Live Action Film + TV 3 IL218 SENIOR 1ST SEMESTER

AN215 Character Design 1 3 FD110, FD111, FD120 AH420 Aesthetics 3 AH210, AH220, AH320, AH331

One of the following courses: 3

JUNIOR 2ND SEMESTER LA125 Scientific Anatomy LA108 or concurrent

XXXX Concept Design for Entertainment 3 AN215, IL218 LA215 American Culture LA108 or concurrent

AN316 Character Design 2 3 AN215 LA231 Mathematics LA108 or concurrent

IL330 Digital Painting for Illustration or IL228 Digital Drawing from Observation 3 GD230 LA225 Non-Western Cultural Experience LA108 or concurrent

SENIOR 1ST SEMESTER SENIOR 2ND SEMESTER

PIL412 Professional Studies 2 Senior Status LA423 Senior Capstone 3 Concurrent w/ IL419

IL418 Senior Portfolio 1: Illustration 3 Senior Status Two of the following courses: 3

XXXX Advanced 3-D Sculpture 3 XXX 3-D Design 2 LA125 Scientific Anatomy 3 LA108 or concurrent

XXX Themed Entertainment Design 1 3 Senior Status LA215 American Culture LA108 or concurrent

SENIOR 2ND SEMESTER LA231 Mathematics LA108 or concurrent

IL419 Senior Portfolio 2: Illustration 3 IL418 LA225 Non-Western Cultural Experience LA108 or concurrent

ILELEC Illustration Entertainment Elective 3

LIBERAL ARTS times as necessary. own words and actions. Minimum passing grade how one might live a worthwhile life. The approach
for this course is a “C” and successful completion of to the resources is personal and visceral, with the
WELLNESS — THE ARTIST AS A VITAL FORCE Graded Pass/No Pass only. Does not count toward a this course is a prerequisite for all Liberal Arts & Art ultimate ideal objective of applying assimilated
1 unit required student’s GPA, but does count toward units earned. History courses. cultural experiences to the process of living and of
(no grade points) Course fees. making art. This course covers Greece, Rome, the
Course Prerequisite: A minimum grade of C in English Middle Ages, the Renaissance, and the Modern period,
WELLNESS: BALANCING THE WHOLE PERSON WRITING REQUIREMENT (4 UNITS) Composition. and interfaces with Western Art 1 and Western Art 2.
(LA101)
3 units ENGLISH COMPOSITION ANALYTICAL SKILLS — THE ARTIST AS THINKER AND Course Prerequisites: English Composition; may be
Wellness is an active process of making choices (LA108) SYNTHESIZER OF INFORMATION taken concurrently with Critical Reasoning, but not
toward a healthy and fulfilling life. There are many 2 units 3 units required before.
dimensions of wellness: academic, emotional, Required (First semester, freshman year)
spiritual, physical, social, and intellectual, This first leg of the freshman writing requirement SENIOR CAPSTONE 2 PROJECT GREEN: ENVIRONMENTAL HISTORY AND
environmental, financial, occupational, etc. Each focuses on exploratory writing and methods of (LA423)
dimension of wellness overlaps with others, and rhetoric. This course helps students discover that 2 units CULTURAL CONSCIOUSNESS
each is equally vital in the pursuit of optimum health. writing is a natural, creative, and meaningful activity Required (Second semester, senior year)
Wellness is also related to one’s ideology (ethics, that helps them learn about themselves and the A summative course designed to foster intellectual, (LA223) CATALOG
personal values, belief systems, behavior) and world. Students reach a level of expository writing conceptual, and artistic self-reflection by the
character (being trustworthy, respectful, responsible, deemed appropriate for the university level, in graduating senior. Students articulate the direction, 3 units
fair, caring, etc.), and these will be examined as they preparation for the more sophisticated writing that meaning, and aesthetic context of their Senior
relate to how we choose to act. Students will learn is required later in their academic careers. Classes Portfolio 2 studio projects via the writing of a senior This course explores humankind’s relationship with 232
how one can reach an optimal level of wellness by are conducted in a workshop setting where students paper, which also explores the student’s influences, the planet, examining how both ancient and modern
understanding how to maintain and optimize each of explore issues of craft and various strategies for personal aesthetics, creative intent, and goals. The
the dimensions of wellness. Guest experts will visit to effective writing. Minimum passing grade for this course culminates in a formal oral defense before a civilizations have related to the environment and
discuss specialized aspects of the course content, and course is a “C” in order to matriculate into the second panel where students must summarize and synthesize
several classes will be devoted to putting the lessons leg of the freshman writing requirement: Critical the essence of their Capstone papers in the context developed differing philosophies on stewardship.
into active practice via “lab” sessions. Reasoning (LA110). of presenting images of the Senior Portfolio 2 studio
work and the story of its creation. Senior Capstone Diverse cultural and ecological factors are studied
Required in residence for all majors (except those Prerequisites: Satisfactorily passing the LCAD must be taken concurrently with Senior Portfolio 2.
who completed the Speech requirement prior to Fall English Placement Diagnostic or consent of College Neither may be taken on an independent-study basis. to identify the variables that contribute to altering
2016). Preparatory Writing 2 instructor.
Course Prerequisites: Senior standing and the environmental conditions. Students then investigate
ENGLISH SKILLS — THE ARTIST AS COMMUNICATOR CRITICAL REASONING completion of all other Liberal Arts and Art History
6 units required (LA110) coursework requirements. modern environmental problems facing our planet
(in addition to any preparatory classes) 2 units
Required (Second semester, freshman year) HUMANITIES — THE ARTIST AND WORLD CULTURES with an emphasis on the history of our changing
NON-REQUIRED PREPARATORY CLASSES This second leg of the freshman writing requirement 3 units required
(units as needed) focuses on analytical skills and academic research. local ecology. The class surveys the history of the
Students learn various methods of inquiry, analysis, THE HISTORY OF WESTERN CIVILIZATION
COLLEGE PREPARATORY WRITING 1 & 2 and argumentation then practice their reasoning (LA211) conservation movement, contemporary local and
(LA010 & LA011) skills in writing assignments, class discussions, and 3 units
1-2 units Credit/Non-Credit; no grade points oral presentations. Assigned readings focus on basic Required global conservation efforts, and explores critical
For those who did not pass the writing diagnostic, philosophical questions and issues facing thinkers This interdisciplinary course aims at informing
these pre-baccalaureate courses are designed in all academic disciplines. Students learn the students about Western intellectual and cultural issues currently facing California’s ecosystems.
to help students with fundamentals of grammar importance of questioning and critiquing the words heritage through synthesizing primary resources
and conventional writing mechanics so that they and ideas of others. Ultimately, students experience in literature, philosophy, psychology, religion, and Students gain an increased awareness of
can matriculate into Composition. These are firsthand how critical reasoning processes enable music. The goal is to generate an individual mode of
developmental courses and may be repeated as many them to become informed and educated citizens of life; that is, to consider one’s place in the world, and environmental issues and their own relationship with
the world, with the abilities to affect change via their
the environment in their daily lives.

GENDER STUDIES IN POPULAR CULTURE
(LA228)
3 units
An interdisciplinary approach to American culture,
this course explores the origins and perceptions of
gender in culture and society. Drawing on visual
studies, literary theory, sociology, politics, economy,
et al., issues of race, ethnicity, class, sexuality, bias,
and stereotypes are explored as they relate primarily
to media representation and language, as well as to
such diverse topics as health, public policy, labor, and
law. Content in advertising (semiotics, visual literacy,
etc.) is a good starting place to extend the analyses
into television, film, music, and game art. This course
may focus on a different theme or culture each time it
is taught.

Satisfies either the American Cultural Experience SPANISH religions, both past and present, from diverse contact between the East the West, as well as cultural
requirement or the Non-Western Cultural Experience (LA274) societies around the world. Areas of emphasis include interactions between Asian cultures in the past that
Requirement, depending on the focus. 2 units the supernatural, myth, religious healing, magic, have shaped this part of the world as we see it today.
An introductory language course in Spanish. Satisfies ritual, witchcraft and sorcery. Studying religious
GENDER STUDIES: THE VOYEURISTIC GAZE—DEPICTION the Speech Requirement for all majors. activity as a form of social and cultural expression, ART & CULTURE: WORLD CINEMA CATALOG
OF WOMEN IN ART FROM EDO JAPAN AND EUROPE students develop an appreciation for religious and (LA249)
(LA238) SOCIAL SCIENCES— HUMAN EXPERIENCE, cultural diversity, human biological and intellectual 3 units
3 units ENVIRONMENTS, INTERRELATIONSHIPS equality, and cultural competency skills for working A survey—international in its scope—of the history,
The visual representation of women in Japan and 6 units required with diverse groups of people (both locally and theory, techniques, and development of motion
Europe in the nineteenth century is simultaneously (3 units of Non-Western Cultural Experience + 3 units internationally). pictures. This course considers international film
erotic, intriguing, and disturbing. Students explore of American Culture) history in relation to its socio-historical, political,
the voyeuristic gaze manifested in artwork from MULTI-CULTURAL HEALING cultural, artistic, and technological contexts. The main
East and West, from Geishas and courtesans in CHOOSE ONE TO MEET THE NON-WESTERN CULTURAL (LA229) focus of class time is on film as an interactive medium
Edo Japan to ballerinas and prostitutes in Paris. EXPERIENCE REQUIREMENT 3 units and art form.
Through an examination of the representations of This course facilitates understanding of the human
women from Japan and Europe, students discern the NON-WESTERN CULTURES being as an integrated physiological, psychological, WORLD RELIGIONS 234
interdisciplinary connections between the visual arts (LA225) and social organism. This course provides a (LA240)
and gender studies. Artists studied include Utagawa 3 units cross-cultural perspective of health and healing 3 units
Kunisada, Kitagawa Utamaro, Edgar Degas, and Mary This anthropology course focuses on a specific non- by looking at ethnic groups in the U.S. as well as a Students read primary texts in religion. The course
Cassatt. This course may focus on different themes or western culture within the framework of individual global perspective. Personal awareness of health- may be devoted to one specific religious tradition or
cultures each time it is taught. civilizations (Asian, Native American, Hispanic, related issues may be expected to broaden with this theme, or offered as a comparative study of religious
African, etc.), developing a comparative analysis of exposure to diverse cultural approaches. traditions.
Satisfies either the Non-Western Cultural Experience these cultures.
requirement or the Non-Western Art Requirement, PRE-COLUMBIAN ART THE ZOMBIE ZEITGEIST AND MONSTER MOTIF
or sometimes the American Culture Requirement, PRE-COLUMBIAN AND MEXICAN CULTURES (LA246) (LA244)
depending on the focus. (LA226) 3 units 3 units
3 units This class surveys the art of the pre-Columbian This course explores the zombie and monster as
FRENCH Beginning with the pre-Columbian cultures of the cultures of the Olmec, the Maya, and the Mexica. a literary, historical, and pop culture archetypes,
(LA272) Olmec, the Maya, and the Mexica, and concluding focusing on their roles in horror, adventure, fantasy,
2 units with modern and contemporary expressions in Latin ART AND CULTURE OF AFRICA and satiric literature and film. Spanning Antiquity to
An introductory language course in French. American and Chicano literature, art, philosophy, (LA252) the present, this course surveys literature, cinema,
and cinema, this interdisciplinary humanities course 3 units and critical theory to examine the earliest precedents
Satisfies the Speech Requirement for all majors. surveys the rich and complex cultural history of the A focus on Africa, with emphasis on its societies, of such monsters in the Ancient and Classical world,
Spanish-speaking world. peoples, and material cultures. Students study the the origins of zombies in West Africa and the
FRENCH LANGUAGE AND CULTURE adaptation of humans to diverse environments and Caribbean, their adoption in Western culture, and
(LA273) ISLAMIC PERSPECTIVES the resulting characteristics manifested in social their subsequent proliferation in Latin America,
3 units (LA227) structures, art, economy, political organizations Asia, and (back to) Africa. Zombies provide an
The focus of this class is on real-life language use, the 3 units and religions. A multidisciplinary approach among ideal means through which to examine cultures and
integration of culture and language, and the four skills A political science course that examines Islam from anthropology, sociology, art history, and art. issues of xenophobia, globalization, capitalism, and
of reading, listening, writing, and speaking. Students its rise in the seventh century to the present. Satisfies individuality. It is a symbol that has crossed many
actively engage in group work. Language skills are either the American Culture requirement or the Non- CULTURAL WONDERS OF ANCIENT ASIA borders, reaching truly global status in the last twenty
evaluated through oral and written tests; cultural Western Culture requirement. (LA253) years. Weekly assignments will require written
knowledge is evaluated through oral presentations on 3 units reflection and analysis.
a specific topics. Satisfies the Speech Requirement for ANTHROPOLOGY: RELIGIOUS DIVERSITY AND BELIEF Exposes the student to the cultural, aesthetic,
all majors. SYSTEMS religious, and historical achievements of ancient
(LA228) Asian cultures, including those of China, Japan,
3 units India, Southeast Asia, Tibet, and others. Some of the
An anthropological survey of belief systems and many topics explored include early and sustained

WORLD LITERATURE AMERICAN CULTURES GEOGRAPHY: ENVIRONMENTAL LANDSCAPES AND NATURAL SCIENCES — THE ARTIST AND NATURE CATALOG
(LA290) (LA215) THE HUMAN CONDITION 3 units required
3 units 3 units (LA220)
This course may focus on a specific author, period, A sociological approach to the diversity of American 3 units PROJECT GREEN: HILLSIDE
theme, or culture. cultures— highlighting the issues that the United A geographic approach to American culture—this (LA101)
States in particular faces as a pluralistic society course explores the interconnections between 3 units
ALSO QUALIFYING: Asian Art History (AH333), undergoing profound changes. regions, resources, and human development as it An ecological survey of the native flora and fauna
Geography: Environmental Landscapes and the varies across America (and, by comparison, the of our surrounding wilderness area. Students gain
Human Condition (LA220), Gender Studies: The COMIX AS AMERICAN LITERATURE globe). Physical environment as it relates to human exclusive access to the private and protected canyon
Voyeuristic Gaze—Depiction of Women in Art from (LA216) welfare is considered , as well as concepts related to and hillsides behind our campus (through a special
Edo Japan and Europe (LA238), Human Diversity 3 units the construction (social and political) of regions, states arrangement with the Laguna Coast Wilderness Park)
(LA255), Special Topics in Film History (AH333), A literary approach to American culture—this course and territories. Since an understanding of global and collaborate as a research team to participate
Creative Writing Workshop: Storytelling (LA199), considers the history of the comic medium, including interrelations is dependent upon local and regional in ecological restoration as they develop research
Introduction to Linguistics (LA2xx) the graphic novel and its place in American life, landscapes/events, some of the semester is spent questions, document results, propose further research
not only as an aspect of popular culture, but as a focusing on global relations. and conduct real science in the field. These findings
CHOOSE ONE TO MEET THE AMERICAN CULTURAL legitimate and emerging art form. are translated into digital educational materials that
EXPERIENCE REQUIREMENT Satisfies either the American Cultural Experience
Recommended for Game Art, Animation, and requirement or the Non-Western Cultural Experience are then shared with the public. The canyon offers a 236
PROJECT GREEN: SURF CULTURE Illustration majors. Requirement, depending on the focus.
(LA213) unique outdoor class environment, applied research
3 units CONTEMPORARY ISSUES IN AMERICAN SOCIETY AMERICAN CINEMA opportunity, and a rewarding experience of engaged
A survey class examining the historical, cultural, (LA217) (LA233) stewardship in our ecological community.
socio-economic, and environmental importance of 3 units 3 units
surfing and its related activities. Through lectures A political science approach to American culture—this This is a survey course of films produced in the Satisfies Science requirement or Liberal Arts elective.
and an examination of films, print advertisements, course explores current political, social, and economic Americas, and may focus on a specific filmmaker (or
novel excerpts, newspaper and magazine articles, issues in the U.S., seeks to discern their causes, and group of filmmakers), time period, theme, genre, or PROJECT GREEN: RIDGE TO REEF
environmental publications, and scholarly essays, examines possible solutions. Emphasis is on issues culture each time it is taught. For instance, the course (LA234)
students explore the diverse influence of surf culture. of a controversial nature. As with other courses in has focused on “Comedy and Horror” and how both 3 units
Topics will include: “The History of Surfing”; “Art the Liberal Arts, this course can zoom in to examine a genres are adept at capturing the evolution of the This course takes a systems approach that integrates
History of Surfing”; “Surfing and Music: From Ukuleles different focus or theme each time it is run. American zeitgeist (e.g., Billy Wilder’s commentary on Project GREEN: Hillside, by considering the greater
to Fender Strats”; “Surfing and the Silver Screen”; gender during the 1950s in Some Like It Hot, Alfred regional watershed and its impact on the regeneration
“Surf Slang: Aloha Mr. Hand”; and “Surfers, Beatniks, AMERICAN LITERATURE Hitchcock’s timeless deliberation on fear as it relates and sustainability of local natural resources,
and Other Outlaws.” The modern surfing industry (LA218) to authority in Psycho, Mel Brooks’ condemnation particularly water quality. The course helps foster a
is also examined through a cultural perspective that 3 units of prejudice in 1974’s Blazing Saddles, George greater understanding of the regional watershed as a
analyzes business practices, philosophy, and branding A literary approach to American culture—this is a Romero’s exploration of 1960s disillusionment in valuable asset to the ecological health of hillside and
via topics such as: “Board Design and Manufacturing”; survey course of the Literature of the Americas, and The Night of the Living Dead). Students study the the coastal ocean environments. Students have the
“Extreme Action Sports: Surf, Snow, Skate, Moto, may focus on a specific author (or group of authors), American experience by taking a close look at the opportunity to contribute their original research to
BMX”; “Surfing and Fashion: From Hula Skirts to time period, theme, or geographic area. By examining fears, insecurities, obsessions, and prejudices that are a social media site, “Voices of the Earth,” a database
Haute Couture”; and “Surfing and World Commerce.” the literature that springs from the American psyche distinctly American. and archive of Earth observations and educational
Environmental aspects of Surf Culture are examined and helps to inform it, students better understand materials that serves as a forum for the public to
via such topics as: “The Oceans: Perfect Storms and the culture that has shaped the Western World. As ALSO QUALIFYING: Creative Writing Workshop: engage as citizen scientists, and provides information
Rogue Waves”; “The Surfer as Activist: From Surfrider with other courses in the Liberal Arts, this course can Storytelling (LA199), Radical Islam & the West about the natural environment in a variety of digital
to Sea Shepherd”; “Pollution, Coastal Cliff Erosion, and zoom in to examine a different focus or theme each (LA227), Gender Studies in Popular Culture (LA228), forms.. Collaborations with outside organizations
Man-Made Seawalls”; and “Surfing and Eco-Tourism.” time it is run (e.g. “Iconoclasts of American Literature,” Special Topics in Film History (AH333) provide opportunities for students to apply what they
“California’s Literary Landscape”). learn in the classroom to meaningful, conservation
projects that are valued by the community.

Satisfies Science requirement or Liberal Arts elective.

PROJECT GREEN: OCEANS FOOD, NUTRITION AND HEALTH HUMAN SEXUALITY of many non-Western languages and various
(LA242) (LA 212) (LA260) subfields in linguistics such as historical-, social-,
3 units 3 units 3 units and neurolinguistics, as well as psychology and sign
This course is designed to provide students with Scientific concepts of nutrition relating to the An examination of sexuality from physiological, language studies (e.g., how language interacts with
a broad introduction to the intertidal zones and functioning of nutrients in the basic life processes. psychological and sociological perspectives via culture and social structure), this course may also be
coastal oceans of Orange County, and likewise takes Emphasis is on individual needs, food sources of lectures, films, discussions and research. Topics used to fulfill the Non-Western Culture requirement.
a systems approach that integrates Project GREEN: nutrients, current nutrition issues, and analyses of include history, anatomy, reproduction, cross-
Hillside and Project GREEN: Ridge to-Reef. As a diets. The course addresses eating disorders, changing cultural perspectives, gender roles, myths, safety and QUANTITATIVE ANALYSIS — THE ARTIST AS
part of the course work, students observe, analyze nutritional needs during the lifecycle, the relationship variations in sexual expression. PROBLEM SOLVER
physical processes and distribution of organisms in between nutrition and certain chronic diseases. 3 units required
the intertidal and shallow zones, and document their COGNITIVE SCIENCES — THE HUMAN MIND AND ITS
findings. These findings are translated into digital SCIENTIFIC ANATOMY PRACTICES MATHEMATICS CATALOG
educational materials that are then shared with the (LA125) 3 units required (LA231)
public. Students also investigate coastal processes, 3 units 3 units 238
coastal marine ecosystems (kelp forests, the intertidal Introduction to the human body structure and its INTRODUCTION TO PSYCHOLOGY Students review basic concepts and processes in
zone) and the impact of humans on the coastal ocean. functions. Skeletal, muscular, circulatory, nervous, (LA235) arithmetic, and study key concepts and questions
Students study the marine mammals that call the and reproductive systems are studied. Projects 3 units in geometry. The course explores questions in the
Orange County coast home. Students contribute to are intended to prepare students for their studio The exploration of basic theories regarding the philosophy of mathematics regarding the nature of
a social media site, “Voices of the Ocean,” a database experiences in life drawing and life painting. operations of the human mind and the mysteries numbers, space, infinity, and truth, as well as topics
and archive of Earth observations and educational of human behavior, within individuals and across of concern to artists such as proportion, the Golden
materials that serves as a forum for the public to Required for Illustration majors. No other course may groups. From infancy to old age, what drives human Mean, and the mathematics of light.
engage as citizen scientists, and provides information be substituted. emotions and alters perceptions and personalities, MATH, SCIENCE AND ART: GOLDEN RATIO TO
about the natural environment in a variety of digital both consciously and unconsciously? What makes NEUROAESTHETICS
forms. We wish for students to become ocean literate HUMAN EVOLUTION humans behave the way they do? Students study a 3 units
citizens, to inform, inspire and engage others as (LA250) wide range of research and theoretical perspectives, This course explores the intersections between Math,
they translate their newfound ocean literacy into 3 units from physiological to psychoanalytic, evolutionary Science and Art in the fields of music, architecture,
meaningful action. This course provides an overview of the theories of to neurobiological. Studying the latest developments design, artmaking, optics, psychology, neuroscience,
human origins. Areas emphasized include human in psychological counseling, healing practices, and and physics. Each lecture and discussion will
Satisfies Science requirement or Liberal Arts elective. genetics, selective pressures, Darwinian gradualism, art therapy, students consider influences on mental delve into the fascinating interplay between
continental drift, migration patterns, mammals, cognition and mental health. diverse disciplines, including the principles of the
PROJECT GREEN: SOCIAL ECOLOGY AND STEWARDSHIP comparative anatomy, and the fossil record. A mathematics involved, yielding a richer and deeper
(LA126) quantitative approach is employed. INTRODUCTION TO LINGUISTICS understanding of the world.
3 units 3 units
This class explores social and ecological opportunities This course satisfies the mathematics requirement. Language makes us human. Linguistics is the science ALSO QUALIFYING: Human Evolution (LA250), Human
in the surrounding natural and cultural community. of language. This course examines the science of how Diversity (LA255)
HUMAN DIVERSITY language changes and how it is learned, focusing
PROJECT GREEN: ENVIRONMENTAL ECOLOGY (LA255) on speech sounds, sound patterns, how words are LIBERAL ARTS ELECTIVES
(LA222) 3 units formed and organized into sentences, and eventually 3 units required
3 units Human Diversity explores biological variation in understood. Students discover the common (from the following, via three 1-unit Art Spotlight
This course explores the human relationship with modern humans, biological concepts of species properties of languages—and the specific ways in classes, or any one 3-unit class not previously taken
our environment in a historical and contemporary and subspecies and the race concept from a social which they differ—via the study of phonology (how in either Liberal Arts or Art History)
context. Students examine the collapse of ancient perspective. Students gain a greater understanding our brain categorizes the sounds), phonetics (what
civilizations as well as the ecological challenges faced of the misuse of the term “race,” an appreciation sounds make up human language), morphology (how CREATIVE WRITING WORKSHOP: POETRY
in today’s modern world. Students investigate local of human biological diversity, and a grasp of the words are formed from smaller units of meaning), (LA115)
and global environmental issues and discover the adaptive nature of human variation. syntax (how words come together to form sentences), 3 units
symbiotic relationship we share with our ecology. semantics (how we extract meaning from sentences), Practice in the basics of poetry writing, with a
This course satisfies the mathematics requirement. and pragmatics (how we acquire meaning from simultaneous exploration of poetry’s various theories
context and sentences). By surveying the features and techniques. Students are introduced to a variety
of literary styles and devices via assigned readings

by accomplished authors, with guided in-class CREATIVE WRITING WORKSHOP: NON-FICTION similarly take part in close critiques of each other’s told across artistic genres. Storytelling is employed CATALOG
discussions and group analyses of the craft at work in (LA197) new writing, both in class and via written feedback in various ways within each of our studio majors:
each piece (aspects such as meter, structure, rhyme, 3 units composed away from class, providing textual analysis literary devices and narrative techniques can add
voice, tone, free verse, lyric, and form). Students Practice in the basics of non-fiction writing, with a from both aesthetic and technical standpoints, richness and depth to artwork, regardless of genre.
complete a variety of writing assignments and simultaneous exploration of non-fiction’s various articulating both emotional and intellectual responses By learning about comparative storytelling across
similarly take part in close critiques of each other’s theories and techniques. Students become familiar to the works. Students broaden their understanding cultures, and by practicing some of these techniques
new writing, both in class and via written feedback with techniques and challenges related to a variety of the genre from a writer’s perspective, improve via original writing assignments, students gain a
composed away from class, providing textual analysis of non-fiction writing—biography, personal essay, their mechanics in regard to craft, and come several deeper understanding of how the human story can
from both aesthetic and technical standpoints, memoir, historical profiles, newspaper reporting, steps closer to discovering their own unique voice be effectively told. Satisfies either the writing leg of
articulating both emotional and intellectual responses magazine features, critical reviews. Students are and vision as a writer of scripts. the Creative Writing Minor or the American Cultural
to the works. Students broaden their understanding introduced to a variety of styles and devices via Experience (in some semesters, the Non-Western
of the genre from a writer’s perspective, improve assigned readings by accomplished authors, with Enrollment priority will be given to Creative Writing Cultural Experience Requirement).
their mechanics in regard to craft, and come several guided in-class discussions and group analyses of the Minors.
steps closer to discovering their own unique voice craft at work in each piece (aspects such as structure, Enrollment priority will be given to Creative Writing
and vision as a poet. conflict, plot, character, point of view, setting, CREATIVE WRITING WORKSHOP: MULTI-GENRE Minors.
dialogue, voice, tone, narrative form). Students (LA194)
Enrollment priority will be given to Creative Writing complete a variety of writing assignments and 3 units CREATIVE WRITING WORKSHOP: LITERARY SUMMER 240
Minors. similarly take part in close critiques of each other’s Practice in the basics of writing in multiple genres, INTENSIVE
new writing, both in class and via written feedback offering students a wide range of options for
CREATIVE WRITING WORKSHOP: FICTION composed away from class, providing textual analysis expressing their stories and words regardless (LA193)
(LA196) from both aesthetic and technical standpoints, of the forms they may take. Traditional literary
3 units articulating both emotional and intellectual responses genres as well as vehicles such as songwriting and 3 units
Practice in the basics of fiction writing, with a to the works. Students broaden their understanding spoken word performance art will be considered,
simultaneous exploration of fiction’s various theories of the genre from a writer’s perspective, improve yet this class is meant to help encourage daring and Under the guidance of LCAD Creative Writing faculty,
and techniques. Students are introduced to a variety their mechanics in regard to craft, and come several difficult works that may push the boundaries of
of literary styles and devices via assigned readings steps closer to discovering their own unique voice established forms and formalities. This may include students travel to various cities to experience first-
by accomplished authors, with guided in-class and vision as a writer of non-fiction. multiple-disciplinary literature, literary artwork,
discussions and group analyses of the craft at work installations, interactive works, intertextuality, and hand both the historic and currently thriving literary
in each piece (aspects such as structure, conflict, Enrollment priority will be given to Creative Writing new media. Students explore different avenues
plot, character, point of view, setting, dialogue, voice, Minors. for their writing, understanding that there is no centers. We visit author’s homes and stomping
tone, narrative form). Students complete a variety of single “right way” to communicate a story, and that
writing assignments and similarly take part in close CREATIVE WRITING WORKSHOP: SCRIPT WRITING sometimes new inventions of form and even format grounds, bookstores, museum/gallery/events, and
critiques of each other’s new writing, both in class (LA198) may be called for. Students complete a variety of
and via written feedback composed away from class, 3 units writing assignments and similarly take part in close perhaps meet and workshop with established authors
providing textual analysis from both aesthetic and Practice in the basics of script writing, with a critiques of each other’s new work, both in class and
technical standpoints, articulating both emotional and simultaneous exploration of various theories and via written feedback composed away from class, and agents. Students are assigned directed readings
intellectual responses to the works. Students broaden techniques related to creating scripted stories. providing textual analysis from both aesthetic and
their understanding of the genre from a writer’s Students become familiar with common terminologies technical standpoints, articulating both emotional and focusing on writing either generated from or written
perspective, improve their mechanics in regard to and structures—beat sheets, treatments, outlines, intellectual responses to the works.
craft, and come several steps closer to discovering pitches, One Act, 3-act, 4-act, teleplays, screenplays, about each area visited, and assignments are the
their own unique voice and vision as a writer of documentaries, multi-media, graphic novels, etc.—and Enrollment priority will be given to Creative Writing
fiction. are introduced to a variety of styles and devices via Minors. student’s own creative writing—inspired by the
assigned readings by accomplished authors, with
Enrollment priority will be given to Creative Writing guided in-class discussions and group analyses of the CREATIVE WRITING WORKSHOP: STORYTELLING writing, art, and culture of each place.
Minors. craft at work in each piece (aspects such as structure, (LA199)
conflict, plot, character, point of view, setting, 3 units Course Prerequisite: Permission of the instructor.
dialogue, voice, tone, narrative form). Students Both a survey course and a creative writing course,
complete a variety of writing assignments and the focus is on the art and craft of how stories are Enrollment priority will be given to Creative Writing
Minors, but this class could be taken by any student to
fulfill the Liberal Arts elective.

SPEECH/ACTING
(LA141)
2 units
A practical course especially designed for the
communicative needs of the professional artist. The
physical dynamics of acting resources and exercises
are incorporated for developing the powers of self-
observation, self-confidence, flexibility, and stage
presence.

ACTING FOR ANIMATORS hand massage specifically for artists, proper sitting of artists in society? Are there genuine standards NON-WESTERN ART HISTORY — ART ACROSS WORLD
(LA143) and standing poses for long work sessions, etc. by which we can judge art? Students participate CULTURES
2 units in dialogues concerning these and other crucial
The challenge for the animator is to create the illusion MYTHOLOGY questions. ASIAN ART HISTORY CATALOG
of life in animated images. Through the analysis (LA265) (AH335)
of animated films and the study of theoretical 1 unit Course Prerequisites: Junior standing and Critical 3 units
considerations of performance, students learn acting An exploration of myth as a catalyst for art, including Reasoning. Required of all students, this course An introductory examination of the arts of China,
techniques that can help create lifelike characters. drama, dance, opera, et al. is taken after completing all other art history Korea, Japan, Southeast Asia, India, and the
This course is reserved for Animation majors. requirements. Himalayas via lectures, guided readings, discussions,
COMMUNITY SERVICE, VOLUNTEERISM, INTERNSHIPS documentary resources, and required fieldwork. This
It satisfies the Speech Requirement for Animators and (LA052) WESTERN ART HISTORY — ART ACROSS WESTERN course uses the Asian collections of the Los Angeles
is to be taken during the junior year. 1-3 units CULTURES County Museum of Art, Norton Simon Museum, and
Credit/Non-Credit; no grade points 9 units required other public and private exhibition spaces for a
ART SPOTLIGHT Students may earn up to 3 units of credit by offering close examination of the form and content of Asian
(LA195) their services within the local community. Students WESTERN ART HISTORY 1 artwork.
1 unit (8 weeks / 2-hour classes) learn first hand how to affect positive change in (AH210)
Art Spotlight is a one-unit course designed to closely the world through their actions, while at the same 3 units Course Prerequisites: Modern and Contemporary Art
examine a specific artist, movement, or issue within time becoming vital contributors to society, growing Required
the arts, or compare two or more artist, movements, personally, professionally, and academically. History. 242
or issues. As the course is only one unit, by design Students can sign-up for 1, 2, or 3 units of LA052 WESTERN ART HISTORY 2
the focus is narrow and the studies intense—like a per semester. For each unit of credit, a minimum (AH220) This course satisfies either the Non-Western Art
spotlight. A semester’s focus might be on any one number of service hours must be performed and 3 units History requirement or the Non-Western Cultural
of the following: “Graffiti, Wheatpaste, and Street documented. The student meets with the instructor Required Experience requirement.
Art”; “The Art of the Book—Parchment, Paper & initially to coordinate the specifics of the class work. This two-semester course introduces students to art
Pixels”; “Minimalist Art and Music”; “Bob Dylan”; The instructor then monitors the work with both historical issues and important monuments in the RODIN: THE MAN, THE TIME, THE ART
“Cassatt’s Women”; “Tex Avery and Chuck Jones”; the student (on an Independent Study basis) and the Western tradition from pre-history through the mid- (AH301)
“Picasso and Braque”; “Gothic and Grotesque in Art, organization involved. Upon completion of service nineteenth century. It establishes a social, political, 3 units
Literature & Music”; “Whitman’s Leaves of Grass”; work, the student will write a brief reflective paper and historical context for the production of art in This course focuses on the personal and cultural
“The Gaming Culture”; “Forgery and Ownership Issues summarizing her or his experiences to complete the society, and provides art students with a sense of circumstances out of which Rodin’s powerful aesthetic
in Art”; “Warhol and Banksy”; “Spielberg”; “Modern course work. the historical development of styles as a continuous language emerged. Students study the sculpture’s
Architecture”; “In the Steps of Martha Graham”; “de tradition relating to their own work. This course is life works, as well as a lost wax method employed
Beauvoir and Sartre”; “The Genius of Tom Stoppard”; This course is open to all students. Graded Pass/No coordinated with the History of Western Civilization by Rodin, one of the most celebrated sculptors in
“Caravaggio”; “The Appreciation of Poetry”; “Classical Pass only. Does not count toward a student’s GPA, but course. western history.
Mythology”; “Classical Music”; “History of Rock and does count toward units earned.
Roll”; “The ‘60s”; “Shakespeare & Freud: Psychology Course Prerequisites: English Composition; Western ALSO QUALIFYING: Pre-Columbian and Mexican
of Love & Sex”; “Van Gogh”; “The California Coast and Course Prerequisites: Recommendation by instructor Art 1 may be taken concurrently with Critical Cultures, Pre-Columbian Art, Art and Culture of Africa
Robinson Jeffers” etc. and good academic standing. Reasoning, but not before. Western Art 1 must be (LA252), Cultural Wonders of Ancient Asia, Art and
taken before Western Art 2, Culture: World Cinema, Special Topics in Film History
HEALING PRACTICES WORKSHOP ART HISTORY — THE ARTISTIC CONTINUUM (AH333)
(LA214) 15 units required MODERN AND CONTEMPORARY ART
1 unit (AH320) SPECIALIZED HISTORIES OF THE MAJORS — ONE’S
A participatory workshop course designed to AESTHETICS— ART AND BEAUTY 3 units OWN ARTISTIC DISCIPLINE
introduce students to a number of healing practices, 3 units required Required 3 units required
both western and non-western. Students learn This course addresses developments in art from the
about and practice various methods of healing for AESTHETICS mid-nineteenth century to the present. Although the HISTORY OF ILLUSTRATION
both mind and body: yoga, meditation, therapeutic (AH420) course focuses on the Western art scene, issues of (AH331)
massage, controlled breathing for stress relief, etc. A 3 units contemporary global art are also discussed. Museum 3 units
guest masseuse demonstrates head, neck, arm, and Required and gallery visits are required. An examination of the major artists and trends in
Students consider such questions as: What is Art? the history of illustration. The course emphasizes
What is Beauty? What is the role and responsibility Course Prerequisites: Western Art 1 and 2. the development and role of illustration as an
art form. Major fields covered include posters,

comics, animation, computer graphics, editorial and will examine some of these recent developments. Gogh’s visual art production throughout his career. or culture each time it is taught. Satisfies the Non-
advertising illustration, and book and magazine Many of the central themes of his art were rooted in Western Art History requirement or Western Cultural
illustration. This course is required for Fine Arts majors. literary depictions and descriptions: Van Gogh was a Experience requirement or Non-Western Art Cultural
life-long reader of Charles Dickens and Victor Hugo, Experience requirement, depending on the special
Required for Illustration majors. May be taken May be taken concurrently with Modern and and was profoundly influenced by the Bible. Students topic offered.
concurrently with Modern & Contemporary Art, but Contemporary Art, but not before. analyze Van Gogh’s formal and stylistic development
not before. as a response to his daily life struggles, and how he BAROQUE ART
HISTORY OF GAME ART used his art to navigate through life in very practical
HISTORY OF ANIMATION (AH338) ways. The class explores Van Gogh’s deep ruminations (AH365)
(AH332) 3 Units on art and art theory, and his practical wisdom as
3 units This course chronicles the history and evolution expressed in his extant 900 letters. 3 units
The course examines the development of of game design while reflecting on its immediacy
animation from its inception through present-day through the Internet and game culture trends. DELACROIX: A VOLCANO CONCEALED BENEATH This course covers the art and architecture of
manifestations in television, films, and the Internet. Students examine the social and artistic influences in BOUQUETS
Major animators and key works are analyzed and computer-mediated communications, and consider (AH302) Europe between 1600 and 1750, emphasizing the
discussed. game theory principles while examining the motive, In this seminar-style course, participants read the
strategy, competition, and psychology of the game. journal of Delacroix and respond with their own relationship between the production of art and
Required for Animation majors. writings, reflections, and analyses. An intimate
ART HISTORY ELECTIVES portrait of this master unfolds via films and lectures the Protestant Reformation, the Catholic Counter-
May be taken concurrently with Modern and that augment the readings and provide a historical
Contemporary Art, but not before. ART HISTORY IN EUROPE—SUMMER TRAVEL INTENSIVE and personal context. Specific explorations of the Reformation, the rise of absolute monarchies, and the CATALOG
(AH200) color theory of Delacroix’s palette, and the graphic
HISTORY OF GRAPHIC DESIGN 3 units focus of Delacroix’s expressive art. Additionally, some emergence of the Middle Class. Major artists studied
(AH334) A course taken as part of our Summer Program in of Delacroix’s musical influences (such as Mozart,
3 units Europe. This program, under the guidance of LCAD art Chopin, etc.) are played and studied in the context of include Rembrandt, Velasquez, Caravaggio, Bernini,
Against the background of visual and public history faculty leads students to selected locations his aesthetic views.
communication from the Stone Age to the 21st (e.g., France, Italy, Belgium, the Netherlands, Greece) BOHEMIAN AMERICA and Rubens. 244
century, this course examines the emergence of to study and experience world-class monuments and (AH321)
graphic design and the professional designer from museums first-hand. 3 units Course Prerequisites: Western Art 2.
1800 C.E. to the present. By exploring the relationship A multidisciplinary consideration of the emergence
between individual designers and their processes No prerequisites, with permission of the instructor. of the American avant-garde as a counterculture MFA – ART OF GAME
and inventions within specific historical movements, between 1948 and 1968. This course examines
students learn of key historical figures and design ART NOW: MUSEUMS & ART CENTERS—SUMMER the complex relationships between painters, poets, MECHANICS-BASED GAME ANALYSIS
movements within their cultural contexts. Continual TRAVEL INTENSIVE musicians, sculptors, and novelists in post-WWII (GA500)
conceptual and technological revolution is the essence (AH211) America. The works of Jack Kerouac, Joan Brown, 3 Units
of this subject and theme of this course. 3 units Charlie Parker, Allen Ginsberg, Lee Krasner, Chuck This course covers the terminology and articulation
A fieldwork course analyzing the current offerings of Berry, Amiri Baraka (LeRoi Jones), Bob Dylan, Sylvia concerning the classes of game mechanics. Successful
Required for Graphic Design majors. exhibition spaces at selected locations (e.g., New York, Plath, The Velvet Underground and many others are games and related media often are built on existing
Southern California). Students examine art shows examined. recognizable elements from previous works. These
HISTORY OF REPRESENTATIONAL PAINTING holistically, considering the site, exhibition design, elements are basic and defining mechanics that form
(AH337) scholarship, and commercial promotion that attend Course Prerequisites: Modern and Contemporary Art. the underlying structure of today’s prominent games.
3 units and frame an artwork on public display. By deconstruction, discovery, and analysis from
This course seeks to trace the sources of the Western SPECIAL TOPICS IN FILM HISTORY various theoretical perspectives, new connections
representational tradition from the nineteenth Course Prerequisites: Modern and Contemporary Art (AH333) are brought to light as new and innovative concepts.
century to the present day. A key concern of the class 3 units Students of this course will gain transformative
will be to define the very nature of realism as an VAN GOGH’S UNTOLD JOURNEY This is a survey course of films produced around analytical insights into the building blocks that
artistic perception. The demise of the so-called avant- (AH300) the globe, and may focus on a specific filmmaker designers will use to create the games of tomorrow.
garde has opened up an enormous diversity of artistic This course considers the role of family, faith, and (or group of filmmakers), time period, theme, genre,
approaches, many of which are figurative. The course artistic inspiration in the art of Vincent Van Gogh. PROTOTYPING
Students examine the impact of literature on Van (GA501)
3 Units
This course covers critical skills necessary to
construct agile and iterative prototypes. A prototype
helps students understand the chief mechanical
concepts and technological approaches for game
design. Students will learn about requirement listings,
will construct and dissect systems, will write technical
literature, will build architectural and case diagrams,

will construct simple prototypes using visual and non- in manners which embrace the inherent qualities including final design, programming or scripting, focus SURVEY OF MONETIZATION PRACTICES & APPLICATION
visual scripting methodologies, and will engage in of virtual worlds as digital artifacts. Topics of testing, testing, and implementation. Students also
industry standard deployment practices. Embarking exploration will include the various roles video games create support materials, such as a product website, (LA502)
on these technical processes will allow each student play in social processes and the way video games and work to integrate these into their portfolios.
to discover the qualities that are deemed desirable function as interactive tools that promote cultural 3 Units
and “fun,” and will proffer iterative procurement, change. THESIS PROJECT DIRECTED STUDY 1
refinement, and, eventually, transformation into full (GA608) This course focuses on research and analysis into
production-scale endeavors. PRODUCTION STUDIO 1 6 Units
(GA505 ) Thesis Development is an in-depth focus on the the various forms of monetization within the game
GAME PRODUCTION 6 Units masters of game design and their methodologies,
(GA502) In this course, students will explore topics including techniques, and processes. Students will formulate a industry. Students will learn how game developers
2 Units content creation in a group dynamic, strategic vocabulary and a dialog with which they will begin to
Game Production covers the processes and planning, goal-oriented planning, game theory, and create a supportive document for their thesis game. implement monetization strategies surrounding
management methodologies by which video game design. The class will take place in a collaborative In Art of Game Design, students create an innovative
development studios operate. Students will learn environment that simulates the professional and theoretically informed body of work that is crowd funding, in-game advertising, free-to-play
the various stages of video game production in the workplace in an effort to provide each student with a exhibited in a manner and context that supports its
context of resource allocation and the building, unique opportunity to form and direct a team in the creative content. In Thesis Project Directed Study 1, models, and more traditional publisher/developer
refining, and optimization of the infrastructure in MFA pipeline. students will begin producing a written component
a production pipeline. While focusing on agile and that addresses the theoretical premise of their work. business models. The course unfolds in three sections:
iterative techniques, students will practice Scrum GAME AUDIO
software processes, formulate sprints, and establish (GA506) THESIS DIRECTED STUDY 2 First, a critical analysis of a wide range of successful
milestone-centric timelines. Along with these skills, 2 Units (GA708)
the course also will teach how to construct budgets, This course instructs students on how to record, edit, 2 Units monetization models in gaming such as Candy Crush,
effort forecasts, and reports. Introducing students and manipulate music, sound effects, and dialogue Thesis Development Study 2 is a continuation of
to pipeline optimization techniques, third-party and assets for a game engine. Digital audio software and Thesis Development 1. Expanding on the vocabulary, Guild Wars 2, Clash of Clans, etc. Next, students are
outsourcing, and quality assurance integration also workstations are used to familiarize students with design methodologies, techniques, and processes in
will factor into the course workload. the rudimentary skills of audio signal flow and the Thesis Directed Study 1, students of Thesis Directed required to create a successful monetization plan for CATALOG
audio creative process. Students will import their Study 2 will complete a supportive document for their
ENGINE TECHNOLOGY finalized audio assets into a game engine using thesis game. a game. The development of the plan will employ
(GA503) industry methods and suitable programming skills to
3 Units implement the audio assets. LIBERAL ARTS data tracking, marketing, pitch documents, etc.
This course covers the limitations of game
development technology and theorizes on how to SPECIALIZED PROGRAMMING GAME NARRATIVE Finally, a proof of concept of your approved plan 246
optimize the production process. Technical knowledge (GA507) (LA501)
dealing with extensibility and tools development 2 Units 3 Units in development using third party tools, marketing
will figure prominently in the course, especially in This course fulfills the needs of the thesis projects Game Narrative is a lecture course that explores
reference to extending the life of software through coming through the class. The instructor will the theory, skills, history, and philosophy of game materials, or any form of media pertinent to a
add-ons that satisfy the demands of users without determine the course assignments in regard to narrative. The course focuses on demonstrating
eradicating basic software structures. programming to assist the completion of the final connectivity between game design as a practice and student’s development project.
phase of development. storytelling as a practice, as well as exposing why
MEANINGFUL GAMES (SUMMER BLOCK) all games tell stories, even if they are not explicitly MANAGEMENT PSYCHOLOGY
(GA504) PRODUCTION STUDIO 2 narrative. Theories from aesthetics and philosophy (LA503)
6 Units (GA605) of art are combined with practical experience from 3 Units
Meaningful Games is a course that combines 6 Units the challenges of game writing and serve to present a Management Psychology explores practices and
game studies, philosophy, and game design with a Production Studio 2 is the final phase of the student’s unique and thorough foundation for writing for digital techniques for team management preparing students
purposeful exploration of what video games are and senior project focuses on the production and entertainment and art. for the realities of the business. Students will learn
in which ways they may be considered meaningful mastering of a senior interactive or game project, various personnel management techniques for all
the disciplines found in game development teams,
including leadership, conflict resolution, and ethics.
This course covers best practices for understanding
and managing team dynamics, dealing with external
and internal clients, managing the peripheral
businesses like marketing and sales, and effectively
focusing a team for delivery of a final product.

MANAGEMENT + MARKETING
(LA603)
2 Units
This course explores business relations between
game developer and game publisher and explores
various techniques for managing and cultivating
these relationships to form lasting and productive
partnerships. Students benefit from firsthand insights
into the realities of the business side of the video
game industry from approval processes to funding
projects. The course covers how to manage work

relationships with publisher contacts, producers, art bringing worlds to life with subtle movements and TIME: SEQUENCE, PROCESS AND NARRATIVE SURREALISM
directors, and marketing departments. Students also grand lighting. Details like motes of dust and pollen in (PA617) (PA618)
will learn how to manage game development teams the air, leaves falling from trees, and smoke bellowing 3 Units 3 Units
through milestone scheduling, setting realistic time from trenches are examples of finishing touches that The depiction of time will be examined in a number The class will use the theoretical writings and major
considerations for tasks, and agile methodologies to will help make a game experience more dynamic. of ways both through single and serial imagery. The artworks of the Surrealist movement as the basis
keep developers accountable and prepared for the Mood and color are additional factors that contribute notion of simultaneity within a single image will be for a series of studio projects. The canonical texts
inevitable rapid schedule changes in production. to a vibrant world. This course will explore mastering treated as a phenomenon of the creative process and of psychology dealing with the unconscious will
use of these effects and more. of narrative progression. Sequential imagery drawing also play a role in the assignments. Image-making
ELECTIVE CLASSES on conventions of comic books and graphic novels strategies that draw on the unconscious including
SPECIAL TOPICS IN GAME DESIGN will depict linear narratives and variations on single automatic drawing and the exquisite corpse will be
UI-UX DESIGN FOR UNITY (Elect) themes. Depictions of time throughout Art History deployed. Additionally, Surrealist literary works will
(Elect) 2-4 Units will be cited and used as visual paradigms. be a source of subject matter.
2-4 Units Special Topics in Game Design focuses on current
This course focuses on player interaction with user topics in the field of game design. Topics include COLOR: COMPOSITION AND PSYCHOLOGY POLITICAL NARRATIVE/IDENTITY CATALOG
interface elements. How a player interacts with a process, art, development, and marketing. (PA616)
game will make or break their experience. Students 3 Units (PA619)
will explore the hazards of clunky gameplay and GRADUATE FIELD INTERNSHIP This course will explore the structural and thematic
ineffective presentations of information. Students will (Elect) aspects of color composition. Works will be created 3 Units
learn to balance what is on screen so that players will 3 Units based on color harmonies and contrasts, gestalt
feel empowered by the information presented rather The Graduate Field Internship allows students to groupings, chromatic light, dominant hue and Contemporary events and issues will be used as a 248
than burdened by it. undertake an internship in a field of study of their saturation contrasts. The class will investigate the
own choosing. psychological and narrative potentials of these starting point for allegories dealing with political
TOOL THEORY combinations. Homework will use color composition
(Elect) GRADUATE TEACHING INTERNSHIP strategies to support narrative content. Readings subject matter. Historical and contemporary examples
2-4 Units (Elect) on the scientific and psychological bases of color
Tool Theory focuses on the placement of different 3 Units perception will be a part of the class. of imagery that explores social content will serve
functions in a pipeline. This course will focus on The Graduate teaching internship allows students
streamlining a repetitive task or batch operation. to undertake a teaching assignment under the APPROPRIATION as paradigms for assignments. Varieties of cultural
Learning to speed up production processes and to supervision of a faculty member of LCAD’s BFA (PA614)
spot and improve bottlenecks by implementing new program in Game Art. 3 Units perspective on particular events will be examined
tools or repurposing old ones. This studio course will examine the various historical
MFA DRAWING and contemporary strategies of appropriation and and will be informed by texts that address strategies
SCALE AND SCOPE IN PROJECT DEVELOPMENT recontextualization of imagery. Beginning with the
(Elect) PICTORIAL SPACE borrowed styles and formats of the Baroque period of reading and issues of identity.
2-4 Units (/) through the ironic anti-modernist gambits of Pop and
This course will instruct students on best practices 3 Units the selective reuse of visual mass media conventions MYTHOLOGICAL/SYMBOLIC NARRATIVE
for managing project scope and feature inventories. This course will examine concepts of pictorial in contemporary art, the class will execute a series (PA620)
Understanding these practices is important to keeping space that move beyond the single viewpoint of of works experimenting with each approach. Goals 3 Units
gameplay focused on players’ core experiences. In one- and two-point perspective. Horizontal and of the class will include the incorporation of co- This course will draw on classical literary sources to
Scale and Scope in Project Development, students vertical panoramic formats integrating multiple opted imagery into a synthetic representational create contemporary narrative works. Readings from
will learn to spot when a project is getting away from perspectives will be used as the setting for narrative artwork. Questions of originality and authorship the Western and non-Western canon will form the
core ideas and will learn best methods for saving and structures that interact with the space dynamically. will be explored in class discussions and short basis for each assignment. Readings from Structuralist
repurposing trimmings for future projects. Experimentation with topographical and worm’s eye written assignments. Examples of the various types philosophy texts will supplement and inform the
views will also be included. Art Historical precedents of appropriation will be reviewed through slide strategies for placing the historical narrative into a
PARTICLE SYSTEMS AND ADVANCED LIGHTING dating from the Renaissance to contemporary periods presentations. contemporary translation.
(Elect) will form the basis of a dialogue on the nature of the
2-4 Units perception and representation of space. REQUIRED LIBERAL ARTS COURSES
Particle Systems and Advanced Lighting focuses on
THESIS PREPARATION
(LA621 / 622 / 633)
1 Units
These one-unit, specialized academic courses are
designed to help the student develop a substantial
academic Thesis that both describes and analyzes
the process involved in the creation of the MFA
studio work. This in-depth analysis will integrate
the student’s understanding of historical and
contemporary issues in art as they relate to themes

that emerge as a product of studio research. The final THEORY AND CRITICISM groupings, chromatic light, dominant hue and as paradigms for assignments. Varieties of cultural
Thesis document will be submitted at the conclusion (LA522) saturation contrasts. The class will investigate the perspective on particular events will be examined
of the MFA program as partial fulfillment of the MFA 3 Units psychological and narrative potentials of these and will be informed by texts that address strategies
degree. A course in contemporary representational art in combinations. Homework will use color composition of reading and issues of identity.
galleries and museums of the greater Los Angeles strategies to support narrative content. Readings
PEDAGOGY AND PROFESSIONAL PRACTICE area. Noted critic Peter Frank leads classes through on the scientific and psychological bases of color MYTHOLOGICAL/SYMBOLIC NARRATIVE CATALOG
(LA520) current exhibitions with critical examination of the perception will be a part of the class. (PA620)
3 Units work on view. Theory and Criticism also includes 3 Units
The course is designed to prepare students for careers writing assignments on contemporary artists and APPROPRIATION This course will draw on classical literary sources to
as professional artists and college-level educators. group critiques of student work. (PA614) create contemporary narrative works. Readings from
The class will also serve to inform their experiences 3 Units the Western and non-Western canon will form the
as teaching assistants during graduate study. Students MFA PAINTING This studio course will examine the various historical basis for each assignment. Readings from Structuralist
will receive instruction on developing syllabi, and contemporary strategies of appropriation and philosophy texts will supplement and inform the
structuring class time and delivering lecture material. PICTORIAL SPACE recontextualization of imagery. Beginning with the strategies for placing the historical narrative into a
Other sections of the course will detail the process (/) borrowed styles and formats of the Baroque period contemporary translation.
of creating presentation materials to museums, 3 Units through the ironic anti-modernist gambits of Pop and
galleries and alternative spaces for exhibition. The This course will examine concepts of pictorial the selective reuse of visual mass media conventions REQUIRED LIBERAL ARTS COURSES 250
class will also focus on professional applications and space that move beyond the single viewpoint of in contemporary art, the class will execute a series
interviewing strategies for academic appointments. one- and two-point perspective. Horizontal and of works experimenting with each approach. Goals THESIS PREPARATION
vertical panoramic formats integrating multiple of the class will include the incorporation of co- (LA621 / 622 / 633)
LIBERAL ARTS ELECTIVES perspectives will be used as the setting for narrative opted imagery into a synthetic representational 1 Units
structures that interact with the space dynamically. artwork. Questions of originality and authorship These one-unit, specialized academic courses are
FIGURATION AND MODERNISM Experimentation with topographical and worm’s eye will be explored in class discussions and short designed to help the student develop a substantial
(LA515) views will also be included. Art Historical precedents written assignments. Examples of the various types academic Thesis that both describes and analyzes
3 Units dating from the Renaissance to contemporary periods of appropriation will be reviewed through slide the process involved in the creation of the MFA
This course traces the major movements and will form the basis of a dialogue on the nature of the presentations. studio work. This in-depth analysis will integrate
canonical figures of Modernism from 1850-1960. perception and representation of space. the student’s understanding of historical and
The theoretical underpinnings of Modernism are SURREALISM contemporary issues in art as they relate to themes
examined through selected readings. The course will TIME: SEQUENCE, PROCESS AND NARRATIVE (PA618) that emerge as a product of studio research. The final
follow the path of representational art and how it (PA617) 3 Units Thesis document will be submitted at the conclusion
was influenced by Modernist theories and processes 3 Units The class will use the theoretical writings and major of the MFA program as partial fulfillment of the MFA
throughout the first half of the 20th century. The depiction of time will be examined in a number artworks of the Surrealist movement as the basis degree.
of ways both through single and serial imagery. The for a series of studio projects. The canonical texts
FIGURATION AND POSTMODERNISM notion of simultaneity within a single image will be of psychology dealing with the unconscious will PEDAGOGY AND PROFESSIONAL PRACTICE
(LA520) treated as a phenomenon of the creative process and also play a role in the assignments. Image-making (LA520)
3 Units of narrative progression. Sequential imagery drawing strategies that draw on the unconscious including 3 Units
This course will trace the development of on conventions of comic books and graphic novels automatic drawing and the exquisite corpse will be The course is designed to prepare students for careers
representational art since 1960 and coordinate it will depict linear narratives and variations on single deployed. Additionally, Surrealist literary works will as professional artists and college-level educators.
with the major changes in the art world during this themes. Depictions of time throughout Art History be a source of subject matter. The class will also serve to inform their experiences
period. Attention will be paid to the influence of late will be cited and used as visual paradigms. as teaching assistants during graduate study. Students
Modernism, Pop Art, Minimalism, Process Art and POLITICAL NARRATIVE/IDENTITY will receive instruction on developing syllabi,
Photorealism, and other significant movements on COLOR: COMPOSITION AND PSYCHOLOGY (PA619) structuring class time and delivering lecture material.
representational painting and drawing. Along with (PA616) 3 Units Other sections of the course will detail the process
the imagery of this period, the course will trace 3 Units Contemporary events and issues will be used as a of creating presentation materials to museums,
the important theoretical bases of Postmodernism This course will explore the structural and thematic starting point for allegories dealing with political galleries and alternative spaces for exhibition. The
including Structuralism and Deconstruction. The aspects of color composition. Works will be created subject matter. Historical and contemporary examples class will also focus on professional applications and
course will also address contemporary representation based on color harmonies and contrasts, gestalt of imagery that explores social content will serve interviewing strategies for academic appointments.
from past to present.

LIBERAL ARTS ELECTIVES provides him encouragement. She stokes his courage. directly to your soul. If you do this, your work (and the writing with an authenticity that might not CATALOG
She implores him to venture out, to solve a great theft) will be authentic. Authenticity is invaluable; otherwise be realized.
FIGURATION AND MODERNISM mystery and unravel an epic narrative. And so it originality is non-existent… In any case, always
(LA515) will go in this course. Among mentors (yes, plural), remember what Jean-Luc Godard said: ‘It’s not where MANUSCRIPT WRITING 2
3 Units students present the ideas — general and specific you take things from - it’s where you take them to.’” (CW554)
This course traces the major movements and — that they intend to develop into manuscripts. These sentiments are an effective description of the 6 Units
canonical figures of Modernism from 1850-1960. Implementing a modified version of the Critical organizing principles of this unit of work. Throughout If storytelling is about sharing a point of view, it’s
The theoretical underpinnings of Modernism are Response approach, students and mentors workshop the low-residency, students attend seminars, lectures, reasonable to assume that learning to craft stories
examined through selected readings. The course will the ideas in preparation for the narrative and literary discussions, et al. and compose written reflections will benefit from a different point of view. Thus, in the
follow the path of representational art and how it development of the first year of non-residency. on how the ideas therein inform their developing second semester, students pair with a new mentor,
was influenced by Modernist theories and processes creative processes. thereby enjoying an opportunity to absorb a discrete
throughout the first half of the 20th century. STORYTELLING FOUNDATION in-depth approach to craft and technique. Students
(CW502) FIRST YEAR OF NON-RESIDENCY may continue work initiated in the first semester, or
FIGURATION AND POSTMODERNISM 2 Units they can experiment with a new project, genre, or
(LA520) In Ecological Literacy: Educating Our Children for MANUSCRIPT WRITING 1 approach. As before, students fulfill four manuscript
3 Units a Sustainable World, David W. Orr argues that our (CW504) submissions throughout the semester.
This course will trace the development of planet “desperately need more peacemakers, healers, 6 Units
representational art since 1960 and coordinate it restorers, storytellers, and lovers of every kind.” A “A non-writing writer is a monster courting insanity,” 252
with the major changes in the art world during this couple things about this: one, yes, he’s writing about says Franz Kafka. There will be no commitment
period. Attention will be paid to the influence of late environmental concerns, but his values are consistent hearings in this first semester (or any semester!). Mentors impart guidance and support via an agreed-
Modernism, Pop Art, Minimalism, Process Art and with those of this program; two, he uses different Having been paired with a semester-long mentor, upon method of communication (videoconferencing,
Photorealism, and other significant movements on labels — peacemakers, storytellers, lovers, etc. — but students work on developing their writing for the teleconferencing, email, etc.).
representational painting and drawing. Along with this program sees them essentially as synonyms; purpose of fulfilling four manuscript submissions
the imagery of this period, the course will trace and three, the notion that we need storytellers “of throughout the semester. DIRECTED READING AND RESEARCH 2
the important theoretical bases of Postmodernism every kind” is particularly important. Storytelling (CW555)
including Structuralism and Deconstruction. The is human. We all engage in it. That said, there are Mentors impart guidance and support via an agreed- 3 Units
course will also address contemporary representation different methods, forms, patterns, traditions, and upon method of communication (videoconferencing, According to Zore Neale Hurston, “Research is
from past to present. structures. The way stories are told in the United teleconferencing, email, etc.). formalized curiosity; it is poking and prying with a
States differs structurally from the Kishōtenketsu purpose.” The poking and prying of the first semester
THEORY AND CRITICISM structure used in China and Japan or the Robleto DIRECTED READING AND RESEARCH 1 continues here; though, because students are still
(LA522) structure used in Nicaragua. This survey lays a (CW505*) experimenting, the trajectory may have changed, and
3 Units solid foundation of comparative storytelling across 3 Units mentors will assist students in adjusting as necessary.
A course in contemporary representational art in cultures and artistic genres, which prepares students In Poor Richard’s Almanack, Benjamin Franklin offers
galleries and museums of the greater Los Angeles with an understanding of how their own stories can this sage advice: “Either write things worth reading, SECOND SUMMER RESIDENCY
area. Noted critic Peter Frank leads classes through be effectively told. or do things worth the writing.” Taken concurrently
current exhibitions with critical examination of the with each section of Manuscript Writing, this course IDEATION 2
work on view. Theory and Criticism also includes CRAFT JOURNAL 1: SEMINARS, LECTURES, allows students to inform their writing by doing (CW601)
writing assignments on contemporary artists and DISCUSSIONS “things.” Mentors create a reading list for students 2 Units
group critiques of student work. (CW503) specific to manuscript needs, but students also With a full year of intensive writing behind them,
1 Units supplement the reading list with their own narrative students will know all too well that writing is in many
MFA CREATIVE WRITING According to Jim Jarmusch, “Nothing is original. experiences. For instance, if a student manuscript ways an act of faith. Writer step out into the void of
Steal from anywhere that resonates with inspiration deals with a theme specific to injustice, the student imagination, compelled by creative impulses, and the
FIRST SUMMER RESIDENCY or fuels your imagination. Devour old films, new might conduct interviews with law enforcement muses keep them from falling. This second ideation
films, music, books, paintings, photographs, poems, officers, convicted criminals, philosophers, and so course is about making that faithful commitment.
IDEATION 1 dreams, random conversations, architecture, bridges, on. A more ambitious student might volunteer for a Writers present ideas for their final manuscript
(CW501) street signs, trees, clouds, bodies of water, light and nonprofit that combats injustice or participate in a and, along with their peers and mentors, apply a
2 Units shadows. Select only things to steal from that speak police ridealong. These experiences can then imbue modified version of the Critical Response approach in
In The Odyssey, Athena disguises herself as Mentor preparation for the final year of non-residency.
and uses the identity to support Odysseus. She

CRAFT SEMINARS Mentors impart guidance and support via an agreed- have learned on their creative journeys. Students CATALOG
(CW602) upon method of communication (videoconferencing, should expect to field questions specific to form,
2 Units teleconferencing, email, etc.). genre, and craft. Yes, it might be difficult, it might be 254
Mark Twain offers this on the topic of diction: “The intimidating, it might be rigorous, but shouldn’t it be?
difference between the almost right word and the DIRECTED READING AND RESEARCH 3 It is, after all, what separates those who are masters
right word is really a large matter—’tis the difference (CW605) from those who are not.
between the lightning-bug and the lightning.” A strong 3 Units
writer, of course, understands not only these types An appeal to the authority of John Keats: “Nothing SELF-MARKETING
of differences but when to lean on one and when ever becomes real ‘til it is experienced.” In the final (CW656)
to lean on the other. During this second residency, installment of this corequisite, students are in the 2 Units
students attend a variety of craft seminars with process of making their own manuscripts become “If you’re going to be crazy,” says Hunter S.
the goal of demystifying the intangibles of creative real. Mentors will assist students in creating a list of Thompson, “you have to get paid for it or else you’re
writing. Seminars may address any of the following readings and experiences that will aid in rendering going to be locked up.” If you’ve made it this far into
topics: diction, visual imagery, wit and humor, irony, their creative work tangible, concrete, and, indeed, the program, then you’re a writer; if you’re a writer,
suspense and surprise, motifs, and more. real. Specific focus of the materials will be geared you’re probably a little bit crazy. But, ya know, the
toward the distillation of the final manuscript. good kind of crazy. Taking the gonzo journalist to
CRAFT JOURNAL 2: SEMINARS, LECTURES, heart, then, this course — via lecture, discussion, and
DISCUSSIONS MANUSCRIPT WRITING 4 Q&A — prepares students to navigate the writing-
(CW603) (CW654) specific terrain of self-promotion, marketing,
1 Units 6 Units collaboration, agents, managers, producers, and more.
Jack Kerouac nails craft with this meta-example: “... It’s a mistake to build temples around your writing,
it ain’t whatcha write, it’s the way atcha write it.” especially in the drafting stages. It’s a mistake JOURNAL 3: SEMINARS, LECTURES, DISCUSSIONS
Building on the unit of work completed in the first because it’ll hurt when you have to burn the temple (CW653)
residency, students continue the written reflections down. And so often you will. This final semester is 1 Units
specific to their creative processes. Whereas the first about holding the flame to your words and making Plato, Socrates, Aeschylus, and a host of others have
residency laid more general storytelling foundations, sure they’re fireproof. Many of them won’t be. leaned pretty heavily on the following suggestion
the second residency focuses on the specificity and Working with a mentor, students undergo the final — “Know thyself.” It’s apt advice for anyone but
indelibility of craft, so the journal writing in this revisions and polishes of their thesis manuscripts. As especially for a writer. This final course asks students
second go-round will reflect this amplification. before, students fulfill four manuscript submissions to reflect one last time on who they’ve become as
throughout the semester. a result of three residencies, four semesters, and
SECOND YEAR OF NON-RESIDENCY thousands and thousands of words, written, read, and
Mentors impart guidance and support via an agreed- exchanged.
MANUSCRIPT WRITING 3 upon method of communication (videoconferencing,
(CW604) teleconferencing, email, etc.)
6 Units
Illumination is the fourth step in the Graham Wallas FINAL SUMMER RESIDENCY
model of creative process. Structurally, this model
aligns where students are at in the program during MANUSCRIPT DEFENSE
this third installment of Manuscript Writing. This is (CW655)
where creative ideas surge into conscious awareness. 2 Units
With the momentum of the second residency and According to Joseph Campbell, “The returning hero,
a year of intensive writing behind them, students to complete his [or her] adventure, must survive the
work with a new mentor to begin bringing their impact of the world.” This works nicely as a metaphor
final manuscripts to fruition. As before, students for the Manuscript Defense. Substitute writer for hero
fulfill four manuscript submissions throughout the (though we argue they are synonymous) and impact
semester. of the world for thesis committee. Students submit
their final manuscripts to a committee of three faculty
and compose an oral defense that advances what they

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