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Doug Aitken’s Art in Context with Roni Feinstein

This fall we are pleased to announce a new course with instructor Roni Feinstein.

Doug Aitken’s Art in Context

This class takes as its point of focus Doug Aitken: Electric Earth, an exhibition that offers the opportunity to review work of the past twenty years by this groundbreaking Los Angeles-based artist.   Aitken is best known for his pioneering work in video art, which not only rethinks the parameters of video in terms of the architectural spaces it might inhabit, but also with regard to narrative and content.   Any number of other artists, among them Bill Viola, Diana Thater, Pipilloti Rist and Ragnar Gunnarsson, also work with multi-screen video projections and Aitken’s work will be considered in relation theirs.  Aitken’s artistic practice also includes photo-based work, sculpture, collage, Earthworks, multi-media performance, participation pieces and more and these too will be related to work by his contemporaries.   It will be seen that while parallels maybe drawn between Aitken’s art and that of others, there is much that is unique and that sets his work apart.  Defining these qualities will be among the class’s aim as the exhibition is explored in depth.

Thursday, October 27, 11am – 1pm: classroom lecture

Thursday November 3 and 10, 11am – 1pm: tour Doug Aitken: Electric Earth at The Geffen Contemporary at MOCA

To enroll, you may use this link: https://www.uclaextension.edu/search/publicCourseSearchDetails.do?method=load&courseId=42735610 Or call our registration office directly at (310) 825-9971.

Instructor, Roni Feinstein, Ph.D., wrote a blog post on Doug Aitken’s retrospective, which can be accessed at the following link: http://www.ronifeinstein.com/1736/doug-aitken-electric-earth-at-the-geffen/

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Installation view of Doug Aitken, Black Mirror, 2011, at Schirn Kunsthalle, Frankfurt, July 9 – September 27,  2015, photo by Norbert Migule

 

Meet new DCA Instructor Tzeitel Sorrosa

tsorrosaHere at UCLA Extension, we’re proud to welcome instructors from a wide range of professional and cultural backgrounds. Tzeitel Sorrosa is a multicultural creative director who brings her diverse experience to our Illustrator II online course beginning in winter quarter. Born in Costa Rica, Tzeitel was raised in Ecuador and received her education at Boston College.

She says, “My most valuable training, however, has come through my extensive travel, diverse areas of studies, and consistent curiosity to explore beyond the world around me.”

Below she shares how her artistic intuition has shaped her work, as well as some info on what you can expect in her upcoming course.

What brought you to this field?

During my childhood, I frequently expressed my thoughts, feelings, and wild ideas through doodles and sketches almost always with graphite or charcoal, and Stonehenge paper. In unstoppable mode, I graffiti-ed everywhere in school, including my text books, wooden desks and freshly-painted walls (to the chagrin of my teachers). Doodling has been an excellent channel of communication for me because it has given me much room for imagination to continue to explore freely across multi-surfaces and formats. I knew at a very young age I would be a fine artist, but I did not know I would evolve into a digital artist. Technology forced me to evolve. Mobile devices have become vehicles of unlimited potential for self-expression and imagination. These devices are all fueled with unlimited energy awaiting to be channeled through YOU to create surprisingly memorable and beautiful things.

 

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

I creative directed and designed the American Diabetes Association’s Welcome Kit for newly diagnosed children with Type 1 diabetes. The concept for the packaging initially started out as a very complex hexagon resembling a sugar molecule, made up of tangram shapes that kids would unfold as colorful puzzle pieces. As much as this design was engaging and playful, the costs to produce it were prohibitive. In the many rounds of feedback from our stakeholders, the iterative process took us back to a simpler but more intuitive model. Yet, the final product was one that still embraced the three key emotions I wanted to convey in the initial welcome kit design: Courage. Wisdom. Hope.

The project felt very special from the start, but it was also a journey of discovery. In design, one of the most important steps to consider is the iterative process. As designers, we’re usually biased in favor of our very first idea, and we say “Eureka!” even before we build a prototype. Prototyping, however, is not just a way to test an idea, but is also a doorway to a more meaningful conversation about the needs of your users.

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Why is your course, Illustrator II, important for my design education?

Teaching creative applications, such as Adobe Illustrator, is a doorway to constant learning. For the always-thirsty, curious mind, it creates not only a 2-way channel of giving and receiving, but an opportunity for collaboration and personal growth. There is always something new to learn from anyone and everyone, and you will be the beneficiary of a storehouse of perspectives, ideas, experiences, and information that you can later resource to in your next project.

Do you have a sample assignment?

In one of our assignments, we will be recreating IBM’s logo into 3D type miniature office buildings utilizing Illustrator’s powerful isometric tools.

Welcome, Tzeitel!

Exploring Street Art visits Christina Angelina Studio

On one of their recent field trips, instructor Lizy Dastin was able to arrange a meeting at Christina Angelina studio for her students in Exploring Street Art. They met with the artist to hear about her work and process, as well as get a close-up look at some works in progress.

From her website: Christina Angelina is an internationally renowned artist who was born, raised and is now based in Venice, California. Her rigorous work ethic led to the completion of 54 murals in 2014 alone.

Angelina’s favorite projects typically take place in remote locations, off the beaten path. She strives to provide a source of inspiration in communities relatively untouched by art. Her interactive process engages and forms lasting relationships with locals, which she then channels into a finalized piece. A thirst for adventure keeps her on the road, traveling and working.

While her highly sought-after work has beautified urban landscapes, it’s also strengthened surroundings for the following clients: Nike, Nylon Magazine, Microsoft, the Academy of Motion Pictures Arts and Sciences, CAA,

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Course Spotlight: Graphic Design for Broadcasting

disneyFormer students of instructor Neal Weisenberg’s Graphic Design for Broadcasting course have been thrilled not only with how much they’ve learned, but also with the valuable industry connections they’ve made through the course’s numerous studio field trips and guest speakers. We asked Neal to share a little more about the course with us:

What brought you to this field?
Broadcast design offers a designer and a creative individual so much variety in the type of work that is produced within Broadcast facility (tv, cable, agency, production company, etc).

Tell us about an especially rewarding project you’ve worked on and why you enjoyed it so much.
I was lucky enough to get to produce a Disney Channel TTI. (THE TIME I…) spot featuring my nephew, who happens to be my hero.

Why is your course, Graphic Design for Broadcasting, important for my Design education?
Broadcast design and graphics are so important to all areas of entertainment.  This course will give you a taste of the “real” world agency/studio design field.

Do you have a sample assignment?
Below is a link to the type of work we will learning about and designing.

Thanks, Neal!

Enroll in Graphic Design for Broadcasting today!

 

Interview with Photography Student Barbara Huber

After recently completing the Photography Certificate, student Barbara Huber invites us to look further into how her journey began. Below, Barbara shares her personal work and experience taking photography courses.

Tell us about how you got interested in photography, and why you chose the UCLA Extension Photography Certificate.

My interest in photography goes way back – my mother gave me the equivalent of a Brownie when I was about 8 years old and then introduced me the basics of photography.  With a hiatus of about 10 years, I’ve been taking and making(!) pictures ever since.  There came the point when “dabbling” P1250532wasn’t enough anymore and I felt a serious desire to line my passion with real technical knowledge. An acquaintance with serious photo-graphic tendencies introduced me to the UCLA Certificate Program. It provided me with the right teachers and affordable classes, but also with the scheduling flexibility I needed as a professional with a demanding day job that other programs didn’t offer. The rest is history! It was fun, it was demanding because I took it very seriously.

For someone who is new to photography, what should they know about getting started?

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Don’t fall into the equipment trap when you start out! It’s first and foremost the photographer who makes the picture. The process is the same for a cheaper model as it is for a super high end camera. Once you know what you want to and what you need to get there, it will be much easier to find the right camera that that fits that particular bill. As a beginner (and despite years of snapping away I would call myself that in the days before UCLA!) I didn’t even know what my needs were, and felt completely overwhelmed by so many choices. I see much clearer now.

What was your favorite UCLA Extension class and why?

Oh, where to start… I had fabulous teachers with a wealth of information on tap; it’s a hard decision to make. But if I really had to pick, there are two that stand out. History of Photography and the Portfolio Class. Both very demanding, but immensely rewarding.P1250722

Trying to replicate historic photographs and getting into the old masters minds was very challenging, but gave me a complete new understanding of the medium.

The Portfolio class really gives you yet another push when it comes to critical and especially self-critical evaluation. By then some of us had already found our voices (or at least were pretty close to finding it), and this class really gave us a last push over the edge to professionalism. I appreciated that particular guidance very much.

How have the UCLA Extension classes helped improve your work, and or expanded your professional development in the field?

For one, I work in the film industry and the technical knowledge I have gained has made an active participation in the world of post-production a) possible and b) really fun.

For two, it has helped explore and then focus on the underlying force that drives my creativity, which is a fascination with those hidden lines of non-verbal communication that form this invisible web all around us. It pretty much informs all of my photographic work now.

Where do you hope to take your practice in the future?

I’m working on setting up a collective of photographers and subsequently mount an exhibit of our work.

What are you working on right now?

For the moment I’m working on expanding a street photography portfolio I’ve started in class, and a separate project specifically involving street performers.

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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!

 

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