Earl Gee (Graphic Design, 1983), has been selected as an AIGA San Francisco Fellow for 2015. AIGA, founded in 1914, is the oldest and largest professional membership organization for design, with 69 chapters and over 25,000 members. AIGA San Francisco, founded in 1983, is one of the largest AIGA chapters in the nation with over 1600 members. The AIGA Fellow program recognizes mature designers who have made a significant contribution to raising the standards of excellence in practice and conduct within the design community and their AIGA chapter. Fellows are honored for their design practice and other contributions in a range of areas, including education, writing, and leadership.
Posts Tagged ‘Graphic Design’
Laughter, tears and, most of all, love was in abundance last Thursday evening, when more than 200 close friends and family gathered in Art Center’s Wind Tunnel Gallery to remember the extremely perceptive, bigger than life, impressively precise, brutally honest and encouragingly supportive Leah Toby Hoffmitz Milken, who passed away in October after battling a rare form of brain cancer.
President Lorne M. Buchman described Leah’s teaching as “the spine,” the core, the fundamental center for the design practice of her students. “Letterforms are a significant means through which human knowledge is conveyed and made precise, he explained. “Leah gave us the gift of knowing language, of seeing the visual word, in its most precise and exacting form. And from that came a release, a creativity of communication that can only enhance our experience as human beings.”
Has alum Chris Do helped reinvent the music video with the interactive design for the Coldplay hit, “Ink?”Wednesday, January 28th, 2015
The spotlight of attention and adulation trained on the new interactive video for Coldplay’s latest hit, “Ink,” has been nothing short of, well…blinding. Appropriately enough, this ambitious and innovative multimedia project sprung from Blind, the transmedia design agency founded by Art Center alum Chris Do.
The evolution of the video is fascinatingly chronicled in the above making-of video as well as the following Fast Company blog post by Evie Nagy. Please feel free to share your thoughts on this video’s customized storytelling experience in the comments section below. Is this a novel fluke? Or have we just witnessed the future of all music videos? Discuss!
In November, pop-rock titans Coldplay released a gorgeous and engaging interactive video for “Ink,” a single from their chart-topping 2014 album Ghost Stories. The animated clip, developed by Los Angeles design agency Blind, is a choose-your-own-adventure-style story about a lost traveler given multiple opportunities to chase his elusive lover or go his own way. In all, there are more than 300 possible paths and stories a viewer can experience.
In the new behind-the-scenes video, members of Blind’s creative staff describe the two-month process of conceiving and creating the video, which uses a technology called Treehouse that was developed by New York company Interlude. Treehouse is the same technology that Bob Dylan used last year to create the interactive video for his 1965 classic “Like A Rolling Stone.” That video allowed users to click among 60 fake television shows of various genres, all dubbed with the song.
“The most challenging part of all of this was figuring out how to fully take advantage of the interactive medium,” says director Matthew Encina. “We had to create a story with inherently interesting choices to make, engaging viewers to wonder, ‘What would happen if I chose something else?’”
You can experience the “Ink” video here.
Spring 2015 Orientation begins today. And while an Art Center initiation holds the potential to overwhelm and intimidate with its alphabet soup of acronyms (extra credit to any new student who can define ACCD, CSE, JFK and LAT). Then there are those daunting tales of Art Center’s punishing workloads and cringe-inducing crits.
Of course, it’s worth noting that any challenges encountered here will not be experienced in vain. There is a method behind the madness. An Art Center education, above all else, instills a process-driven approach to the audacious act of bringing innovative and imaginative ideas to life.
Typography Center to be Established with $2 Million Gift, Honors Beloved Professor Leah Hoffmitz MilkenTuesday, December 2nd, 2014
Typography is the hidden power player influencing the way we read, talk, write and interact with the digital world. Storytellers throughout corporate America, from soap makers to car manufacturers, articulate ideas through common visual languages. Similarly, global initiatives like the (RED) awareness campaign thrive from strong visual recognition. Armed with 21st-century visual literacy skills, artists and designers can be among the most important drivers in reaching consumers and influencers, helping business leaders communicate with each other and creating value for industry as well as nonprofits.
To that end, Art Center, this week announced a $2 million gift to the College from the Lowell Milken Family Foundation that will establish the Hoffmitz Milken Center for Typography. The Hoffmitz Milken Center’s aim is to advance the research, teaching and understanding of letterform design and typography. Recognizing typography as a vital component of our visual culture, the College has been developing plans to make Art Center a central influential force in this field. The Foundation’s gift helped turn those plans into reality.
In the latest issue of Dot magazine, we take a look at Art Center College of Design’s long history—nearly 60 years—of connections to Asia. Take a trip with us through time and across the Pacific as we look back in history and forward to the future. Today, we explore the College’s historic relationship with Japan.
In 1956, Edward A. “Tink” Adams, Art Center’s first president, traveled to Japan with Advertising alumnus George Jergenson (BFA 35)—then the director of the College’s Industrial Design (ID) Department—and ID faculty member John Coleman. They had been invited by the Japanese government to tour the country and to share their thoughts on how industrial design could provide a competitive advantage for a nation still early in its post-war recovery.
After returning to the U.S., they filed a formal report containing several recommendations for Japan, including instilling a sense of national pride in products being “Made in Japan”—they cited Nikon’s confidence in placing its name on its camera, “one of the finest cameras anywhere”—and making sure Japanese students fully grasp their country’s rich cultural history. The future designer, it stated, “will learn more…from studying Japanese masters of painting and design than he will from Western art.”
Art Center’s Berlin program highlighted in Superior Magazine Q&A with Graphic Design’s Simon JohnstonWednesday, November 12th, 2014
The following interview with Graphic Design faculty member Simon Johnston originally appeared in Superior Magazine. We’re republishing it here because it’s incredibly illuminating about Art Center’s BIKINI Berlin program as well as the depth of Art Center’s iterative process. And it’s not every day that a faculty member makes the pages of a men’s fashion magazine!
We live in a world that is controlled and dominated by technology. But students from Art Center College of Design, who are currently guests in BIKINI Berlin, have carried out an experiment. Banned from any technology, they focused their creativity on the actual process of design, and worked with analog methods and tools in their creative process. The results are remarkable, and will be shown in the form of an exhibition on November 20th. This project is directed by the designer and typographer Simon Johnston.
Studying at Art Center is like going through boot camp. You’ve probably heard students and alumni from the College compare those two experiences. But how realistic is that analogy?
Graphic Design alumnus Michael Noh (BFA 14), who graduated this past summer, has an answer. Prior to studying at Art Center, Noh served in the Army Reserves for four years, during which time he designed multimedia communications and also served on a tour in Iraq as part of a Psychological Operation (PsyOp) unit.
Which means, yes, he went through boot camp. So I put the question directly to this military veteran and working designer: Is graduating from Art Center really akin to surviving basic training?
Art Center has a reputation for putting students through their paces, challenging them to meet and exceed their wildest creative dreams. The work ethic instilled here is legendary as are the results of all that toiling, ideating, imagining and making.
But the journey from inspiration to finished creation has always been somewhat mysterious. So beginning last Fall, we set out to illuminate students’ creative process with the series of videos we’ve recently renamed Student Space. Now it’s become a bonafide ‘thing.’ Here’s how it’s done: We identify three students from different disciplines who are in the process of completing an ambitious project. Over the course of the term we work with them to create three videos capturing the launch, obstacles and completion of their finished work of art and/or design. At the end of the term, each student’s trio of episodes constitutes an intimate take on the agony and ecstasy of bringing an idea to life. The results have been fascinating, dramatic and nothing short of spectacular. Need proof? Check out this playlist on our YouTube page.
We’re particularly excited to introduce you to the newest group of Student Space participants with this latest round of videos. Pearlyn Lii is a Graphic Design student working on a Brian Eno book. Environmental Design student, Connie Bakshi is sending dispatches from Tokyo, where she’s participating in a collaboration with TAMA University. And Advertising student Rosie Geozalian is tackling a little subject known as human connection in her current campaign.
Join us in watching these works unfold over the remaining weeks of the term. Check this space for subsequent installments on November 22 and December 19.