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Aneesha Bharadwaj shares about her Getty Studio Placement experience

The Getty Design Studio placement that we oversee each quarter is an incredible opportunity for our DCA students to gain real world experience in one of Los Angeles’ top creative environments. This fall, Aneesha Bharadwaj was chosen for this special opportunity. She shares about her experience, including images of two of the projects she created, below:

Postcard design 1 for the exhibition Woven Gold: Tapestries of Louis XIV (front)

Postcard design 1 for the exhibition Woven Gold: Tapestries of Louis XIV (front)

What projects did you work on during your placement? What did you find rewarding about them?

I worked on real and ongoing projects with most of the designers at the Getty design studio.
I was involved in various projects including work for the Getty Education, Getty user surveys and research which was more user experience design related, Product sketches and CAD for monitor displays to be placed at the galleries. I was also glad to be a part of the recently opened exhibition Woven Gold: Tapestries of Louis XIV.
The most rewarding experience was that I got to work on projects with various skills like visual design & typography, product design and user experience design. Having my prior background in product design and now focusing on visual design and user experience was good for various type of projects.

Postcard design 1 for the exhibition Woven Gold: Tapestries of Louis XIV (back)

Postcard design 1 for the exhibition Woven Gold: Tapestries of Louis XIV (back)

What was it like being in a real design studio after being in the classroom for your DCA training?

It was the best experience for me to work outside the classroom in a real design studio as I got into the real world with real projects and deadlines. This training is required as it helped me to not only work on good design but also to make presentations, to collaborate with others, and to generate visitor/ user feedback on how well the finished product or project has evolved.
I was also grateful to be part of the Getty Toastmasters which is a monthly event on how one can improve their presentation and communication skills. This I feel is very essential as a designer–we have to sell and get other people excited about our concept.

Postcard design 2 for the exhibition Woven Gold: Tapestries of Louis XIV (front)

Postcard design 2 for the exhibition Woven Gold: Tapestries of Louis XIV (front)

What will you take away from this experience that will serve you in your future design career?

This experience has taught me to be more professional, dedicated, and passionate about the art and design industry. As a student you work for your portfolio but working at the Getty you work so that more visitors come who are curious and excited. It was also invaluable to work in a team, generating ideas, and presenting in front of clients. Showing your enthusiasm by not just delivering what is needed but doing much more that gives it the extra edge.
Having worked at the Getty has given me the direction I want my career to head towards. I am truly grateful to have been given this opportunity.

Postcard design 2 for the exhibition Woven Gold: Tapestries of Louis XIV (back)

Postcard design 2 for the exhibition Woven Gold: Tapestries of Louis XIV (back)

Congrats, Aneesha!

Interested in the Getty Design Studio placement? Be sure to like us on Facebook to keep up to date with application announcements. Also, email Kate at dca@uclaextension.edu anytime for more info.

 

 

Check Out Aneesha Bharadwaj’s Innovative Sensing Design

When Aneesha stopped by the office and shared her latest design from Henry Mateo’s Design II: Collateral Communication course, our director said, “You have to put that on the blog!” I’ve seen many final projects from this course and this, without a doubt, is the most innovative I’ve ever seen. We especially love how Aneesha boldly embraces the emerging sensing technology.

Aneesha writes:

Carpe Energia is a fictional event with the concept, ‘seize the energy’. Active and engaging for its audience, I made it interactive by using motion sensors with LED’s.

The LED’s respond in a gentle fashion to stimulus provided by human interaction. They light up as I wave my hand in front of the sensors- a slight twinkling ripple that spreads out to other areas as it dissipates. The effect is a like touching a pool of water into an overall gentle rippling, and eventually settles down.
The poster is powered with a 24V power supply. I have covered the LED’s with Duralar paper and cut out holes for the senors.

The Type Treatment- event information on the left is screen printed (white ink) directly on the black board.

Excellent work!

City Series: Rome

We are excited to announce a new art history course, with instructor Mary Beth Carosello. City Series: Rome is a unique blend of art history and cultural history. Topics covered will include urban design, architecture, artistic movements, and each culture’s impact on today’s world. Classes will also include museum field trips to view key works.

Often in a survey course, the amount of material to be covered means that each topic is dealt with quickly. This class will delve deeply into the rich history of the city, from a variety of different angles.  The first part of the class will look at the city of Rome from its earliest incarnation as an ancient Republic to its development into the capital of a far-reaching empire and its subsequent fall. The second half will explore the “rebirth” of the city in the 1500s looking particularly at the work of Michelangelo and Raphael. The class will conclude with a look at Rome in the 1600s and the dynamic art and architecture created in service of the Counter Reformation.

 

Mary Beth Carosello

Mary Beth Carosello

Mary Beth is one of our most popular instructors. One recent student commented that “As usual, Mary Beth brought enthusiasm and deep knowledge to her subject. I always feel as if I’m living in the time period we discuss…she brings it to life!”

We hope you’ll join instructor Carosello for a fresh look at this historic city!

To enroll: https://www.uclaextension.edu/pages/Course.aspx?reg=258556&qe=true.’

Unknown, Head of Hippokrates, Roman, 2nd century

Unknown, Head of Hippokrates, Roman, 2nd century

Unknown, Statue of Hercules, Roman, 100 - 199

Unknown, Statue of Hercules, Roman, 100 – 199

Course spotlight: Advanced Typography (online) with Anya Farquhar

SP15_AdvancedTypographyWe were thrilled when expert designer Anya Farquhar not only joined our instructor team but also agreed to help us bring the course Advanced Typography into the online world!

What can you achieve in this awesome class? Check out this gallery of student work:

Enroll in Advanced Typography (online) today!

Course Spotlight: Design History & Context (online)

It’s always exciting to see the innovative work coming out of instructor Shirin Raban’s online Design History and Context course. Enjoy the gallery of final projects below!

The instructions were:

Design an innovative invitation card for the gallery opening of a contemporary visual creative individual or group in a field such as graphic design, lettering, illustration, architecture, etc. that inspires you and has a consistent, innovative body of work.

Your design must reflect the conceptual thinking and design style of this individual or group. The invitation can take on any format or use any media that deems appropriate to this prompt.

Some examples include Marian Bantjes, Oded Ezer, Eddie Opara, Stephan Sagmeister, Chip Kidd, Erik Spiekerman, Shirin Neshat, or any other example that inspires you.

Think globally!

 

Course Spotlight: Design III Advanced Design Practice

Our Design III Advanced Design Practice capstone course is where students bring together everything they’ve learned in the DCA program and prepare an outstanding portfolio piece showcasing all the skills they’ve acquired. It’s also an opportunity to work with a real client, as well as to practice collaborating with other designers (your classmates) which is very important, as no design is  created in a vacuum.

Below are two team projects (be sure to keep scrolling for the second one, as they are many pages long!).

This first project, by Daria Trubitsyna and Bonnie Poon is a rebranding of the town Marfa, Texas:

 

And the team comprised of Michael Bush, Rachel Curtis, Michael McCready, and Dainise Meissner created this rebranding for the Santa Monica Chamber of Commerce.

Michael says:

“Design III  with Alan Robles  was an incredible experience.  He presented us with a unique challenge that no other DCA class had done before or dares to do. We had to develop and design our own single project that lasted the entire quarter. This provided us a more real life scenario as we were able to dive deep into the project and take it to levels beyond what we would do in any other DCA class. Alan showed us in many different ways that design can be applied, such as environmental, wireframe, matrix (research how your design can further benefit their company in ways they didn’t know was possible) and much more. The work level was very suitable for Design III. Was it tough? Yes, but it’s an advance class. It should be challenging! The student should embrace the challenge and should challenge him/herself in the process.”

Greatest Illustrator I posters ever

How can you not want to take Illustrator I (online) with new instructor Eric Rosner after checking these out:

 

 

Instructor Spotlight: Benjamin Woodlock

Ben WoodlockWe’re thrilled to welcome new Typography (beginning fall 2014) and Advanced Typography (beginning summer 2014) instructor Benjamin Woodlock! A CalArts MFA grad, Benjamin now runs Subtext Office, a Los Angeles-based foundry and graphic design studio specializing in custom and retail typefaces, branding and publication design.

Benjamin fields our “big four” questions here:

What brought you to this field?

My path to design was through music. For a while I recorded and toured with an indie-rock band. We started a little label and did everything ourselves, so one of my jobs was to make posters for every show. When we started out, I had almost no skills or knowledge about design, but little by little I got better at it and started to fall hard for typography. I went back to school to get my masters which is where I started really geeking out by learning typeface design. Now my work is split between more traditional graphic design–mostly focused on branding and editorial work—and custom typeface design. When I can find some free time, I spend it working on a couple of typefaces that I’m developing for retail.

Tell us about an especially rewarding project you’ve worked on and why you enjoyed it so much.

Last year, CalArts asked me to create a typeface to expand their branded communications. They wanted a three-style font based on their logo and I was lucky to get the commission right after an intense MFA experience there. Calarts has an amazing, vibrant, and bonkers tradition of typeface design so I was a little terrified at first trying to draw on all of it as inspiration for an institutional typeface. Fortunately, the project moved so quickly I didn’t really have time to freak out—it was a blur of drawing, revising and kerning. It was exciting how fast “McBean” came together and it is really rewarding to see them use it in so many different ways.

Why is your course, Advanced Typography, important for my design education?

Designers today need to go beyond just practicing good typography, which is a complicated enough task as is. Great typography needs to solve a complex equation: it has to be clear, inventive, complex, balanced and expressive, among other things. We are lucky to be designers right now because the wealth of typefaces and digital tools at our disposal means that there are endless possibilities for typographic expression. Advanced Typography provides a forum for stretching muscles and taking risks, while confronting the sort of challenging problems that typographers are asked to solve in the real world.

Do you have a sample assignment?

Here’s a teaser: since we’re in LA, the first project will revolve around the branding and marketing of film. All the projects in Advanced Typography will focus on two areas of growth. First, they ask students to experiment and explore the limitless possibilities of typography. That means pushing beyond boundaries to create innovative and unexpected solutions. At the same time, the work focuses on typographic complexity by engaging dynamic systems to handle many layers of information. Most of the projects will be open-ended in terms of format—so students can answer the brief in ways that interest them, whether that be a printed piece, a website, motion graphics, or something completely different. I’m looking forward to surprising ideas and approaches!

A poster for the Calarts Visiting Design Lecture Series. The title treatment is the result of a multi-stage analogue and digital process, reflective of Oh Yeah Studio's unique approach to design.  Screenprint; edition of 15.

A poster for the Calarts Visiting Design Lecture Series. The title treatment is the result of a multi-stage analogue and digital process, reflective of Oh Yeah Studio’s unique approach to design.
Screenprint; edition of 15.

Visualizing the Urban Landscape

Francis Reilly_Untitled

‘Untitled’ by Francis Reilly, Los Angeles River Renovation Study

This spring course approaches photography as a disciplined way of seeing, investigating, and interpreting the urban landscape.  It is intended for those interested in photography, landscape, architecture, the built environment, and art history in the context of the city.

Each student selects a site for the focus of his or her work in the course. The place may be anywhere in the Los Angeles region — urban, suburban, or rural. It may be a work of architecture, a garden, an urban space, a neighborhood, the urban edge, or the like. Work will be submitted in digital format. Images are projected for class discussion and posted in an online gallery. This work will proceed in stages, examining the site from varying perspectives, including light, detail, documentary, and poetic interpretation, and ending as a portfolio of photographs that express the qualities of a particular place, sequenced as a story or stories.

Georgia Sheridan_Sunday is my day with you

“Sunday is my day with you” by Georgia Sheridan, Linear Park, Santa Monica

Each class is divided between presentation and discussion of student work and a lecture providing context and critical understanding for this work The lectures provide an historical and critical understanding of the evolution of photography of the natural and built environments. The lectures provide an historical and critical framework for informing one’s photographic efforts and, through the many examples, educate the eye to the variety of ways of seeing and interpreting the urban landscape..  Thus students are expected to evolve  their abilities to see and interpret the urban environment by understanding how others throughout the history of photography have done so, by experimenting with their own photographic project, and by discussing how other students have approached their work..

Camille Fink_Untitled

‘Untitled’ by Camille Fink, Union Station

The course is led by Richard Langendorf.  He is uniquely prepared to teach this course as he has degrees in Architecture and Urban Planning from MIT, has experience in both fields abroad and in the United States, and has more than 50 years of experience photographing the urban landscape.  UCLA Extension recognized his teaching excellence by giving him the Distinguished Instructor Award in 2013.

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