Spring brings the arrival of many things. Swans pursue the thawing lakes in the north. Leaves return to barren trees. And film moguls descend on the white beaches of Cannes for premiers and deal making. This year, alum Elran Ofir (Grad Film 14), will be one of the fortunate few whose film will be included in the Cannes Short Film Corner, a special section for filmmakers to gain access to industry meetings, workshops and conferences on strategic issues.
The Dotted Line caught up with Alumna Antrese Wood (BFA 94 Illustration) at the opening of her show, “A Portrait of Argentina” at the dA Center for the Arts in Pomona.
Perito Moreno glacier. Antrese Wood.
Dotted Line: What have you been doing personally since you left Art Center?
Antrese Wood: I’ve had a windy path.
I left Art Center and worked for Disney for about 12 years. I got that job by being extraordinarily persistent, possibly stalker-ish. Sometimes, I wondered if they hired me so I’d finally leave them alone.
Working at Disney allowed me to mature and continue to develop skills I learned at Art Center. The real lesson in all the class critiques is not so much about the details of the work itself; it’s about being able to objectively talk about the work. To listen to other people’s opinions about your ‘baby’ without taking it personally or getting defensive. Part of my job at Disney was providing art direction for video games. I can tell you the people who did not pick up that skill were not happy and did not make it very far.
Stuart Fingerhut designs Scion’s presence at major international auto shows.
The following profile of Environmental Design alumnus Stuart Fingerhut appeared in the January 2015 issue of VSMD Magazine. Read how Fingerhut’s leading-edge thinking about reconceiving the retail experience to be more about connection than commerce informs the success of his experiential marketing work for Toyota’s Scion brand as well as his personal design practice creating functional art.
Stuart Fingerhut seems to have this experiential design thing all figured out. As creative director for Toyota’s Scion brand at the George P. Johnson Experience Marketing Agency in Los Angeles, Fingerhut is responsible for creating Scion’s presence at major international automobile shows.
Illustration by Kim Ryu for the February 2, 2015 edition of the New York Times Sunday Book Review
It’s been a fruitful awards season—and not just for the creative team behind Birdman. Art Center alums have amassed an impressive array of accolades, from the Caldecott Medal (the Oscars of children’s literature) to the Oscars themselves. So in lieu of glitzy after party, we’ve done the next (or perhaps next, next) best thing and compiled highlights from our alumni community’s recent accomplishments below. Enjoy!
What at first felt like a total culture clash just a decade ago is now standard practice in most top-earning companies. The idea of blending design innovation with business strategy has quickly evolved from a seedling, to a trend and now to a “must have.”
Art Center alumni and friends reunited in San Francisco on February 28 to celebrate the 10-year partnership of the College and INSEAD, one of the world’s leading and largest graduate business schools. Close to 150 industry leaders gathered at the posh play-inducing headquarters of Airbnb on Brannan Street to toast the success of a concept early adopters admitted seemed wacky.
Framework judges Common, Nolen Niu, Brandon Gore. Image courtesy Spike TV.
When a casting agent called Product Design alumnus Nolen Niu (BS 99) asking if he would be interested in participating as a judge on a Spike TV show, he said “Hell yeah!” A fan of such shows as Bar Rescue and Catch a Contractor, Niu didn’t even ask what the show was about before agreeing to participate. That enthusiasm, and his well-earned reputation as a furniture designer, landed him a stint as one of three judges on the furniture design reality competition, Framework, Spike TV’s newest reality show, where contestants vie to be named best furniture maker—and win a $100,000 prize. There is still time to binge watch the entire series online before the finale, which will air March 10th.
At first it was a bit surreal for Niu to see himself on TV and to get recognized at some of the most random places. Overall though, “[this] has been one of the best experiences I’ve had during my career as a designer, says Niu. “The opportunity to judge a competition and hold a position of authority related to design was an absolute honor.”
In tune with the current maker movement, Framework offers a glimpse into the process of creating handcrafted goods. “The design and build process is very analog in nature compared to the completely digital lifestyles that we live in today. It’s important that these shows continue to be produced since it shines light on the level of complexity of the work we as designers and makers perform,” notes Niu.
Ezio Manzini
Ezio Manzini, a leading force in social impact design and founder of the DESIS (Design for Social Innovation towards Sustainability) network of university-based design labs (including Art Center’s Designmatters department), will present a lecture based on ideas addressed within his new book, Design, When Everybody Designs, published by MIT Press. The event, which begins at 7pm in Art Center’s LA Times Media Center, will include an hour-long talk about design culture’s role in driving the future of social change and a book signing at 8pm.
The following excerpt from Manzini’s book, which was originally published as part of Mapping Social Design‘s Expert Workshop, offers an enticing preview of the innovative and deeply-considered ideas Manzini will address in his presentation at Art Center next week:
In the 21st century social innovation will be interwoven with design as both stimulus and objective, indeed it will stimulate design as much as technical innovation did in the 20th century. At the same time, it will be what a growing proportion of design activities will be seeking to achieve. In principle, design has all the potentialities to play a major role in triggering and supporting social change and therefore becoming design for social innovation. Today we are at the beginning of this journey and we still need a better understanding of the possibilities, the limits and the implications of this emerging design mode, but what is already clear is that design for social innovation is not a new discipline: it is simply one of the ways in which contemporary design is appearing. Therefore, what it requires is not so much a specific set of skills and methods, but a new culture, a new way of looking at the world and at what design can do with and for people living in it.
Mazda CX-5 : Penn and Teller 30 second spot from Anthony Cardenas on Vimeo.
Anthony Cardenas came to Art Center’s Advertising program equipped with equal quantities of talent and doubt. He doubted whether it was wise to spend several years pursuing his second undergraduate degree. (He had recently received his B.A. in Marketing from CSU Northridge). He had questions about how he’d finance his degree. He also wondered whether it made any sense for him to focus on copywriting at an art and design college.
But eventually his anxieties lifted once he discovered that his unconventional choices — aka his differentiating qualities — were fueling his success. “Everyone I was in school with wanted to be an art director, so why not be a copywriter?” Cardenas remembers wondering. “I enjoyed it, my peers seemed to enjoy my writing and found it funny (or they were really good at pretending to laugh), and I thoroughly enjoyed doing that more than sitting on a computer comping all day. So, I made it known to all of my friends and teachers that I wanted to become a copywriter, and I was the only one at that time really.”
ARRI PCA Gear for the C300 from Chase Hagen on Vimeo.
This video is more than it seems. It’s not just a polished promotional piece for ARRI Pro Camera Accessories, targeting young filmmakers. It’s actually a multi-layered (and slightly meta) example of Art Center’s core values—collaboration, industry-minded creativity, polished production values. Look closely at the video’s ingredient list (aka credits) and you’ll find that it’s been fortified with Art Center talent at every level. Film student Chase Hagen produced the above behind-the-scenes look at the production of a music video, directed by Art Center Film alumnus, Steve Dabal.
The piece, which was shot in the soundstage at Art Center’s Hillside campus, was commissioned by ARRI Pro Camera Accessories as a result of a relationship fostered by Undergrad & Grad Film chair Ross LaManna and Advanced Cinematography instructor Affonso Beato, ASC. Then again, Art Center filmmakers are in good company: Here’s an interview with Birdman‘s Oscar-winning cinematographer, Emmanuel Lubezki, in which he credits ARRI equipment with facilitating some of the film’s most innovative camera-work and creative flourishes.
Sennheiser CEO’s Daniel Sennheiser (left) and Dr. Andreas Sennheiser.
Last month, Art Center welcomed Sennheiser co-CEO and Product Design alumnus Daniel Sennheiser (BS 96) to Hillside Campus to inaugurate its BOLD Lecture Series.
Speaking to a group of students and alumni packed into the Los Angeles Times Auditorium, Sennheiser shared lessons he’s learned as a creative entrepreneur and gave a behind-the-scenes look at how he’s implementing a culture of design thinking into his family’s venerable audio company—a company whose many achievements include revolutionizing personal audio by creating the world’s first on-ear headphones in 1968—which this year celebrates its 70th anniversary.
Below are highlights from his presentation:
On failure: It’s very important in your life to have moments where you fail. Failure is part of the journey. You learn it everyday in school when you go through moments where you feel like you’re failing. I still fail at a lot of things, but I get back up. And ultimately, success is standing up once more than you fall.
