艺术中心设计学院成立

爱德华 · A · “丁克” · 亚当斯是一位广告人，在教育方面有一个激进的想法：向艺术家和设计师传授现实世界的技能，并为他们在广告，出版和工业设计中的领导角色做准备。为了实现这一目标，他将创建一个由这些领域的专业人员组成的学院，於是艺术中心于 1930 年开业。

最初的校园位于洛杉矶西七街的建筑院落中，足以容纳艺术中心当时的 12 名老师和 8 名学生。从一开始，便选择了一个简单的实心圆圈作为图形元素，以添加到艺术中心的印刷材料中。

战后发展：正式大学

战后，返回的退伍军人使入学人数进一步增加，促使他于 1946 年搬到第三街上的一幢更大的大楼，并承诺实行全年时间表。 1948 年，艺术中心著名的汽车设计部门（现为运输设计部门）成立。一年后，艺术中心成为获得认可的四年制大学，并提供了工业设计，摄影，插画和广告专业的第一个学士学位。 1950 年代，艺术中心在汽车行业的第一个高级概念设计工作室的创立中发挥了重要作用。

艺术中心转型设计学院

亚当斯负责艺术中心近 40 年。当他辞职时，领导层转移给了校友唐·库布利。在整个过程中，艺术中心继续与 20 世纪的许多文化和技术地标一起成长，并且经常能预见到这一点，同时完善了我们的教育工具和方法，以始终站在艺术和设计教育的最前沿。 1965 年，艺术中心成为艺术中心设计学院。

为了体现学院的前瞻性势头，每十年将增加一个新的本科系：1967 年的纯艺，1973 年的电影，1984 年的平面设计，1991 年的产品设计，1992 年的环境设计，2008 年的娱乐设计以及 2012 年的交互设计。硕士科系分别于 1975 年增加了电影，1986 年纯艺，2000 年媒体设计实践，2004 年工业设计，2012 年增加环境设计和运输设计以及 2016 年增加平面设计等课程。德鲁克管理学院于2014 年提供创新系统设计双硕士学位。

学习创造。影响力变化。

这是我们的使命宣言，也是我们对艺术和设计如何影响全球社会的答案。零件号召性用语。部分承诺。一切机会。

21 世纪艺术与设计教育的新模式。

ArtCenter 对艺术和设计教育的富有远见的方法是基于学院类似音乐学院的教学方法；渴望进行丰富，跨文化和跨学科的对话；并授权为学生提供创新的学习和创造空间。

艺术中心设计学院校徽

• 迈克尔·贝 – 电视制片人，商人
• 欧文·克什纳 – 电视导演，电影制片人
• 迈克·筱田 – 唱片制作人，吉他手
• 扎克·斯奈德 – 电影制片，编剧
• 史丹·坂井 – 漫画家，作家
• 德鲁·斯特鲁赞 – 插画家
• 唐·伯吉斯 – 电影摄影师，演员
• J·梅斯 – 汽车设计师
• 迪克·蒂格 – 工业设计师
• 迈克尔·惠兰 – 艺术家
• 约瑟夫·麦克米兰·约翰逊 – 电影艺术总监，制作设计师
• 伊夫·贝哈尔 – 设计师
• 埃德温·乌史郎 – 产品设计师
• 布鲁斯·苏提斯 – 摄影师
• 约翰·阿尔文 – 艺术家
• 托马斯·金卡德 – 画家
• 纽伦 – 工业设计师
• 杉本博司 – 演员，艺术家
• 罗恩·加莱拉 – 摄影师
• 斯科特·罗伯逊 – 产品设计师

Story Pitch

Give a concise (1-2 sentence) synopsis of an original storyline that will be the basis of your portfolio. Provide a series of storyboard sketches outlining the arc of the story.

Character designs 

Design at least 3 characters central to your story pitch. Each character should be presented on a page of fully rendered drawings conveying the movements, expressions, attitudes and idiosyncrasies that express the character’s personality within the context of the storyline. Include reference images, inspiration, character development/exploration.

Finished keyframes. 

Create at least 5 fully rendered illustrations that convey critical, narrative moments from your storyline, depicting your characters in dramatic moments throughout the story’s arc. These drawings should show your use of composition and color while also conveying a sense for the aesthetic considerations surrounding the characters, including depicting big environments as well as props/objects.

Figure drawings

Include at least 12 drawings from a live model. This should include gestural sketches as well as more finished drawings that demonstrate use of light, shadow, and perspective based on longer poses. Include faces, hands, and feet.

Sketchbooks 

Include several pages from your sketchbook, focusing on observational drawings such as animals, people, locations.

Animated Short Film

If you have already created animated short films in stop motion, 2D, or 3D, please include this in your portfolio as a Quicktime file. This work does not need to connect to your Story Pitch.

A game concept proposal based on your original idea.

This must include, but is not limited to:

• A one-minute video of you presenting/pitching the game.
• A short paragraph that details the main features of the game.
• Description of the different categories/layers of navigation and movement available to the player, shown through drawings and sketches of these elements.
• A brief description of the “game flow” 
• An art direction brief describing the visual aesthetic and design of the game’s story world.
• A description of “five minutes of gameplay” that takes us through a narrative or puzzle sequence in your game.

A written analysis

A written analysis of a recently published video game. This document should not exceed three pages and must include a short written description of the game, a list of the game’s key features, and your opinion of what works and what does not, and what you would approach differently if you had designed the game.

A short essay

The essay should be about a game (non-video game) that you like. This document should not exceed one page and must include a brief description of the game, a short paragraph that details what you like about the game, and your opinion of what makes the game fun.

Additional Examples

• Examples of other game ideas you have developed, including brief written descriptions and sketches. 
• Examples of additional creative work such as drawings, graphic design, or other personal work that gives us a sense for you as an artist or designer.

Part 1.

Submit a minimum of three spatially or 3D-oriented projects that show solutions to a specific spatial design challenge. These should include drawings and sketches, along with photographs of models that demonstrate an understanding of 3D space, technical skills, and design sensibility.

Part 2.

A descriptive paragraph explaining the design concept and solution should be included with each project submitted. Quantity is not as important as quality. For instructions on submitting your work, follow the submission options in How to Submit Your Work.

Include layouts or comprehensives for projects

Such as posters, brochures, editorial design, package design, motion graphics, web design, and identity systems. Pieces that exhibit a grasp of an issue, an individual point of view, or a unique approach to a problem are helpful. Evidence of an understanding of—and a passion for—typography is a must.

Provide process work that shows the development of the chosen idea and various solutions.

Samples of logotypes, lettering, life drawing and general color and design assignments should be included. A combination of finished pieces and sketches is desirable.

Submit 10 to 15 figure drawings

• Drawing from a live model that include both gestural and more developed pieces. Other observational drawings from life are also required.
• Include imaginative drawings that demonstrate your passion for and understanding of illustration in both color and black and white.
• Submit three or more pieces that highlight drawing or painting skills, and show the development of a story or concept. 

Interaction Design candidates

Provide at least three projects that incorporate the following:

• Projects that demonstrate the interactivity and are screen-based or physical objects, or both. 
• Examples of screen-based projects include mobile or social applications, websites, gestural interfaces, and games. 
• Examples of physical projects include consumer electronics, smart products, art, or environmental projects. If you have previously worked on collaborative projects that have made it to production, including a statement about your role in the design.
• Including your process work is an important way for you to show the development of a chosen idea and how you arrived at your solution. 

Applicants with no previous experience

• Redesign an existing website, mobile app, or other interfaces and make it better and more user-friendly. Include a wireframe layout through simple line sketches.
• Identify a particular challenge in everyday life and design an app that specifically addresses that need. Demonstrate through sketches. 
• Redesign an old and obsolete consumer item using modern technology and interfaces to make it relevant for today’s world. Include an image of the original along with your sketches for the new design.

Submit a minimum of 24 black-and-white, color, or digital images.

• Any combination of these is acceptable, but submitting only black-and-white work is discouraged. 
• The images should clearly convey your idea. They should communicate your intention in creating these images and display your technique in doing so.
• A variety of subjects and concept explorations are encouraged.
• We want to see a variety of subjects in varying environmental circumstances, some indoors or in the studio, some outdoors, and/or some in locations that are intentionally chosen. 

• Submit sketches and finished drawings of three or more original product designs. 
• Emphasis should be on the function of the product, as well as the aesthetics and originality of the design. Projects should show thorough research and exploration of a product from beginning through intermediate sketches to a final finished rendering of the product.
• Inclusion of photos of 3D models is optional.

• Portfolio submissions should demonstrate a passion for and curiosity about the future of transportation, including cars, trucks, public transportation, boats, motorcycles, or alternative mobility.
• Submit drawings and sketches of your original design concepts, signed and dated. These should represent a variety of types of vehicles with a minimum of four or five projects. The inclusion of designs for non-vehicular products is encouraged as well. 
• Submit ideas in proper format: title and goal of the project, research, audience, preliminary and final sketches.

Portfolio

Spatial Experience track applicants: 

Prospective students need to submit at least three completed spatial projects. These projects should be fully documented with indication of goals, research, hand sketch development, digital and hand model making. The conceptual design process should include variations on ideas.

Furniture and Fixtures track applicants:

Students should have a background in furniture and fixture investigation and be experienced in the fabrication process in both hand and digital skill sets. Submit at least three completed full-size prototype furniture or fixture projects, including sketching, model making and documentation of the complete design development process.

Written Essay

Provide a written statement that delineates your motivation for pursuing a graduate program and your reasons for the choice of track. This should include topics and areas of interest as well as specific goals to be undertaken in the program. You should also describe specific skills and competencies you want to achieve. The statement should also include your goals beyond completion of the program and describe how a design education will relate to your career objectives.

Resume

Include a short resume covering educational and relevant experience.

Portfolio

Applicants must submit a portfolio that reflects a range of graphic design work across media and a fluency in typography. Include a minimum of 15–20 pieces or projects that show a range of skills. Where applicable, include a brief written description of the project. Collaborative or commercial pieces should clearly state the applicant’s contribution or role.

Written Essays

a. Statement of intent

Applications must include a personal statement of focus and intent. The essay should outline the applicant’s motivation for pursuing graduate study in Graphic Design at ArtCenter and identify a specific goal and focus of study. The statement of intent should be clear and concise, between 500–1,500 words in length.

b. Personal essay

In 750–1,000 words, provide detailed information about your relevant personal, educational, and professional experience. Include your skill level with software, typography, and any media-specific skills (coding, spatial design, etc.). The statement should also include goals beyond completion of the program and describe how a graduate degree from ArtCenter will relate to your career objectives. Personal statements can range in content; the goal is to discover your relevant life experience, goals and personal passion.

Resume

Include a resume that outlines your educational and professional background and relevant experiences and activities, including community work.

Letters of recommendation

You will be prompted to enter the name and email address of one to three persons who will be providing letters of recommendation on your behalf. References should be from people who are familiar with your work and experience and should speak to an ability to conceptualize, execute and communicate design.

Portfolio

Submit work that demonstrates your design and innovation abilities. Include examples of projects that show your process and how you develop your ideas into the project results. We look for abilities to:

• think and operate in terms of projects.
• take a systems approach to design solutions.
• write and communicate effectively.
• envision and produce broadly desirable 3D objects and spaces.
• produce a high level of aesthetic sensibility in production
• draw and/or otherwise visualize new ideas.
• identify important opportunities and needs.
• research, investigate and analyze design topics.
• experiment and engage in creative idea generation activities.
• develop desirable solutions for real needs and problems
• consider and plan for related business dynamics.
• exploit and employ appropriate technologies.
• profess expertise and depth in specific areas or disciplines.

Written Essays

a. Please describe: (i) your motivations for pursuing study in GradID, (ii) why you think it is a good fit for you, and (iii) what you envision you would ideally be doing five to 10 years after successful completion of the program.

b. In 2,000 words or less, please answer the following: If you were given a budget of $10 million and an uninterrupted time period of two years to work creatively on anything that you wanted to, what would you pursue and why?

Resume

Please submit a formal resume and bio covering educational and relevant prior experience.

Portfolio

Projects can be professional, self-initiated and/or class assignments. We encourage applicants from other fields but projects from outside of media design must demonstrate the applicant’s ability to cross boundaries and think about issues in the realm of communication and media.

All projects in the portfolio should be presented through SlideRoom. No physical portfolios will be accepted. Dynamic media projects should be accompanied by links to working examples to ensure the full depth of the project is experienced.

Written Essays

a. Statement of Intent

The essay should outline the applicant’s motivation for pursuing graduate study in Media Design Practices at ArtCenter and discuss personal goals for the future, along with areas of interest and relevant experience. The statement of intent should be clear and concise, between 500–1,500 words in length.

b. Required Essay Question

Choose two design projects and discuss each project. Which aspects would you take forward and which would you leave behind as you pursue new critical questions of your own? What would those questions be? We encourage you to include one of your own projects, especially if you have a self-initiated project in which you determined the process and critical direction.

Resume

Include a resume summarizing your educational and professional background. It should highlight relevant academic studies, project work, awards and achievements, and work experience.

Letters of Recommendation

You will be prompted to enter the name and email address of one to three persons who will be providing letters of recommendation on your behalf. References should be from people who are familiar with your work and experience, and should speak to an ability to conceptualize, execute and communicate design.