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Winter Quarter Getty Design Studio Placement

Work done by previous DCA intern, Naomi Hotta

Work done by previous appointee, Naomi Hotta

Applications due Sunday, December 3.

THE WORK
The student will partner with a lead designer to develop graphic design solutions for various print ephemera connected with the Getty, including Education and Performing Arts. Work will involve collaborations with internal clients, production and web staff to coordinate deliverables. The Design Studio is a fast-paced, deadline-driven, creative environment that develops high quality design solutions.

THE SITUATION
The Design Studio at the Getty will offer a fully set-up MAC workstation for the successful student candidate. Work must be carried out at the Getty Center Design Studio.  The position is 12 hours per week, with preference for 2 six hour days (Tuesday, Wednesday, or Thursday 8:30 – 3:30 with 1 hour lunch break).

PAG 39-40

Getty Center

QUALIFICATIONS
• Working knowledge of InDesign and other Adobe CC programs.
• Ability to generate a design solution quickly and carry it through to completion.
• Strong communication skills.
• DCA certificate candidate.

APPLY
Send your resume, cover letter and three work samples to dca@uclaextension.edu by Sunday, December 3.

 

Interview with DCA grad Natalia Leal Delgado

Designer, photographer, and artist extraordinaire Natalia Leal Delgado tells us about her experience in the DCA program:

Tell us about how you got interested in design and what brought you to the DCA program.

I was thinking for a while about expanding my education, and after traveling to visit my cousin in LA for the first time I decided that I wanted to come back. Also I have a background in photography and was messing a lot with creating other types of Art with it, especially mixed media. So I came across UCLA Extension and thought that the Design Communication Arts would give me the tools to expand in the right path. It would give me not only the artistic tools that I was looking for but also help me convey the message that I was trying to communicate. I have always been a fan a good design. And some people would tell you that design and art are two different things but the truth is that it’s everything part of the same. Music, design, photography, and classical arts all intertwine in the contemporary world to create what we know today as ART.

What were your favorite courses and why?

I had the opportunity to take some great courses in the program and meet great people, teachers, and mentors. I would say that my favorites in to the program were Color Methodologies, because it made me think about color in a complete different way, InDesign because its a great tool, also I took it with Michelle Constantine who is an amazing instructor and mentor. She helped not only with how to use the tool but with how you can adapted to whatever it is that you want to create also how to translate what you create in the program to something that becomes a real object. And Typography, because even I could never be the person to tell you what typefaces you are using or know everything about them. Learning to be aware of how the element of typography can change a piece or something that you present and how it can play with peoples perceptions, and even relates to feelings or culture, it’s really interesting to me and pretty much blew my mind.

If the phone rang right now and somebody offered you your dream design job, who are they, where do they work, and what’s the job?

It would be a big cultural institution or museum in a major city to design the layout and the experience on a surreal exhibition. Or even better, to make a collaboration with other great artists to bring experiences to people, like David Lynch’s Festival of Disruption. Or it could also be the people from Polaroid Originals, which is relaunching the whole Polaroid world so that way I could combine my design and photography skills in one job, and go to Berlin which also is one of my life long dreams.

Where do you see yourself professionally in 5 years?

This one is a really hard one, being an international student is complicated to know exactly where your life is going and project your life 5 years into the future. There are rules and circumstances that don’t apply to regular people or students. Also being from Venezuela, which isn’t in its most stable time… I love my country so not being able to know what situation it’s going to be in makes it hard to project your own life. But ideally I would have a job that allows me to travel, independently of where I’m settled. I would have my own artist’s studio to work in and I would be getting calls from different cultural institutions to design for spaces, experiences and show my art still combining new and old technologies, and techniques to create new, exciting and compelling art.

Interview with DCA graduate Summer Wulff

Summer Wulff

Multi-talented DCA graduate Summer Wulff not only has a keen design aesthetic, but also entrepreneurial and branding skills that make her a real standout. As if that weren’t enough, she even plays guitar, piano, and ukulele!

Tell us how you got interested in design and what brought you to the DCA program.
I’ve truly always been drawn to design and art. As a little girl, I wanted to be an animator and throughout high school and college I had interests in interior design, makeup artistry, and set design. Through the DCA program, however, I’ve been able to focus on and explore my deepest professional passion–graphic design. What initially triggered my desire to sign up for my first class with the DCA program was a behind-the-scenes featurette for one of my favorite films, The Grand Budapest Hotel, that delved into the ins and outs of a graphic designer working on a production. The creativity and attention to detail involved throughout the process and the designer’s pride in the finished product appealed to so many of my interests and I was hooked. I had always wanted to go to school at UCLA, so UCLA Extension seemed like a perfect choice to complete my design program.

What were your favorite courses and why?
Many of the courses in the program had so much to offer, but if I had to pick my top three, they would be Branding and Logos (now Design III) with Shirin Raban, Entertainment Design with Jag, and Designing Experiences with Merritt Price. Branding was a lot of fun, and so helpful in learning and practicing the process of researching and refining my designs. Shirin really encouraged stepping away from the computer screen, starting broad, and working your way down to the best options. Entertainment Design was a great course that pushed my Photoshop skills, forced me to think outside the box, and exposed me to a lot of the elements of how freelance designers work. Designing Experiences was the most work I had ever done in a DCA course, but was also one of the most rewarding courses I took in the program. Merritt pushed all of us to think, design, and execute to the absolute best of our ability. The workload and expectations set the bar for what the professional world of design is like, and that was invaluable.

If the phone rang right now and somebody offered you your dream design job, who are they, where
do they work, and what’s the job?
It’s the early 90’s, and a young Tim Burton is calling me to design the props and graphics for Batman Returns.

Much of your work showcases your notable entrepreneurial skills. Have you always been drawn to these types of projects or is this a skill set you’ve cultivated?
I think this profession forces us to be entrepreneurial. There are so many designers competing with one another, trying to come up with great ideas. So to be successful, it’s important to be creative not only with your designs but also with how they are executed. I have a lot of interests and passions and tend to pursue projects that touch on a few of those interests at once, which I find produces the best results.

Where do you see yourself professionally in five years?
To be perfectly honest, I’m open to a lot of different possibilities and I’m excited to see where I end up in five years. As a biology and psychology major, I never knew I’d be pursuing a design career seven years later, so who knows what the next five years will bring. I just hope to continue challenging myself and
pushing myself creatively.

Congrats, Summer!

Student Work Roundup: Summer 2017 Edition

Enjoy this gallery featuring selections of student work from the courses Design III: Branding and Design History and Context, both taught online this summer by instructor Shirin Raban:

Course Spotlight: Design Software Intensive Bootcamp

InDesign project by DCA graduate Adam Weidenbaum

For the first time this fall, we’re thrilled to offer our Adobe software courses – Photoshop, Illustrator, and InDesign – in an immersive bootcamp format. Instead of the usual 4 units, the bootcamp earns you 8 units of course credit and meets twice as many hours.

Instructor Hakon Engvig

Web and software instructor extraordinaire, Hawk Engvig, tells us more about this new course:

1. Why is the Design Software Intensive Bootcamp important for my design education?

Adobe is THE standard in the design field and there are no programs more prevalent, popular or important than Photoshop, Illustrator, and InDesign when it comes to graphic design. They lay the foundation for all major work you do on a regular basis and are pretty much a requirement to know in any modern design scenario.

2. What’s the benefit of studying Photoshop, Illustrator, and InDesign in the bootcamp format instead of one by one?

Photoshop, Illustrator, and InDesign are BEST used together, so you will save a lot of time/money learning them all in one go. Your greatest work will come from how you wield all three and not just relying solely on one. Though the programs can be quite different in what you would use them for, they are actually quite similar in how we interact and actually use them. By learning all three at the same time, you reinforce the knowledge and your comfort with not only the one we are utilizing but all three programs simultaneously.

Illustration by DCA graduate Daniel Sulzberg

3. Do you have a sample assignment we’ll be working on?
Though the classwork will revolve around reinforcing the tools, good habits, etc., the actual assignments will be based on common, fun and real-world standards like branding, image manipulation/correcting, and production in digital and print.

4. What will I take away from this course?

In this one course, you will not only learn the proper way to utilize all three programs, but you will also have no problem creating any creative content needed in the modern design world.

Thanks, Hawk!

Questions? Email dca@uclaextension.edu or call 310-206-1422 to speak with an advisor about this or any other visual arts course.

And enroll in Design Software Intensive Bootcamp today!

Welcome new DCA instructor Grace Magnus!

Grace Magnus

We’re thrilled to welcome Grace Magnus to our instructor flock, though Grace has been a member of the DCA community for years, first as a student, then as a teaching assistant, and now as an instructor. Her own design work is exciting and innovative, and we urge you to check out her portfolio at https://www.gracemagnus.com. Grace will be teaching Photoshop I in our new Woodland Hills center this spring.

What brought you to this field?
I like to joke that I’m a recovering English major, but in reality, I’ve had a wide assortment of jobs that have led me to where I am today. I managed an art gallery, edited copy, sold fine wine, applied makeup, and helped create brands. Along the way I’ve slung drinks, served coffee, worked graveyard shifts, installed roofing…it’s been a long hustle, and I’m proud of it. I succeeded in all these jobs by taking an ecumenical approach to learning–I relish the opportunity to receive new information, digest it, and clearly and concisely help others understand it regardless of the subject matter. It’s no wonder I fell in love with teaching soon after I fell in love with design.
In 2012, I took a Design Fundamentals class at Extension on a whim. I was new to Los Angeles, itching for change, and the public health class I wanted to take was suddenly canceled. Four years later I have an exciting freelance business I love. So many graphic designers fall into the field by accident or, like me, come into it later in life as a second, third, even fourth career. I love that. It means we have this pool of creative people who’ve worked hard and have a huge range of experiences to apply to finding design solutions.

Tell us about an especially rewarding project you’ve worked on and why you enjoyed it so much.
I’m a big proponent of Design for Good, and I always try to be working on at least one project that has personal meaning. For example, here’s a current project that hits close to home: I used to work very late hours while having two dogs that needed long walks at all hours of the day and night. I learned some time ago that the world can be a terrifying place for women after dark.
So I’ve been challenging my 2D design skills by pushing them into the 3D world, and I’m creating prototypes for personal safety devices, holsters, walking aids, etc. that will make it easier, safer, and more comfortable for women who need to be outside at night. The line is being printed on my 3D printer with the goal to distribute them for free. The entire line is designed with women’s tastes and bodies in mind, which makes it a real design challenge because women’s tastes and bodies are so varied.

Why is your course, Photoshop I, important for my design education?

Today’s emerging designers need to know how to use Photoshop effectively, efficiently, and creatively in order to stand out in an over-saturated market. Although Photoshop is considered by many to be Adobe’s most difficult and counter-intuitive program, it is also the most powerful and incredibly fun. My goal isn’t to drill into your brains every hot key (I wish, we only have 12 weeks!), rather it’s to guide you through the essential tools so that you the designer can find the exact right solutions for your own work. Your interviewer isn’t going to care that you know every single way to pull up the color picker, they care that your work has vision and originality, and that you can efficiently and effectively put to paper what’s in your head. I will guide you into harnessing Photoshop’s power so you can do just that.

Do you have a sample assignment?
Sure! I like to make sure that my assignments are challenging, but also fun and personal. So I’ll give you a little peek into one option for your final. Students will create a series of posters that utilize Photoshop techniques and best practices to morph different living creatures into one, then you’ll will use those images to make a poster series of PSA’s for a social or environmental cause. If you’re not into monsters, don’t worry, I’ve created project variations to suit every taste.

 

Thank you, Grace!

Spring Quarter Getty Design Studio Placement

Work done by previous DCA intern, Naomi Hotta

Work done by previous appointee, Naomi Hotta

Applications due Sunday, March 12th.

THE WORK
The student will partner with a lead designer to develop graphic design solutions for various print ephemera connected with the Getty, including Education and Performing Arts. Work will involve collaborations with internal clients, production and web staff to coordinate deliverables. The Design Studio is a fast-paced, deadline-driven, creative environment that develops high quality design solutions.

THE SITUATION
The Design Studio at the Getty will offer a fully set-up MAC workstation for the successful student candidate. Work must be carried out at the Getty Center Design Studio.  The position is 12 hours per week, with preference for 2 six hour days (Tuesday, Wednesday, or Thursday 8:30 – 3:30 with 1 hour lunch break).

PAG 39-40

Getty Center

QUALIFICATIONS
• Working knowledge of InDesign and other Adobe CC programs.
• Ability to generate a design solution quickly and carry it through to completion.
• Strong communication skills.
• DCA certificate candidate.

APPLY
Send your resume, cover letter and three work samples to dca@uclaextension.edu by Sunday, March 12th.

Kate is on maternity leave, but another advisor would be happy to review your resume and/or sample work if you’d like to make an advising appt. before the deadline by calling 310-206-1422.

Design II final project presentation: Fiona Chen

Instructor Henry Mateo is known for going above and beyond the call for his students, and this past quarter was no different. Henry arranged for his Design II: Collateral Communication students to share their final projects at Brand Knew where notable guest critiquers from the LA design scene were on hand to give our students feedback.

Student Fiona Chen shared her work with us:

Name: Foray

Fiona says:

This project was the most challenging, yet fulfilling projects I have done so far in the DCA certificate program! I chose to create an entire bakery/cafe based around a rustic, modern hip, homemade vibe that is quite popular right now. “Foray” was a name taken from the French word from forest, with an “American” twist to the name for readability.

I tried to appeal to a more hipster audience of late twenty and thirty year olds, as well as young, up and coming families in places like Atwater Village or South Pasadena. I was very much inspired by the look of cabins, forest (and trees of course), and a feeling of warmth and coziness.

I wanted the whole brand to convey this vibe by making it look a little loose, and handmade, and with the use of warm colors. The trend right now is a lot of artisan, modern, hip coffee shops, and I wanted to explore the trend with more of a craft and rustic perspective to it. The whole process was definitely long and hard, but it really was a good challenge in terms of seeing what worked and didn’t in terms of building boxes, and using new processes like screen printing. I had never made boxes before, and Henry really challenged us to think “outside the box,” literally. I felt really good about how my bakery box “kit” turned out, and with a little trial and error, I think it worked out well and was a different way of presenting packaged goods. I had a blast with this project and it definitely presented me with several new challenges, in a very good way. I hope that came through in the final result of my project!

Project 1 was a fragrance brand that was completely different from my second project. It leaned toward more of a minimal vibe towards an upscale audience. The result was “Opus” meaning composition. I used a diefold for the box (which required a lot of trial and error!) and a clear opacity adhesive for the bottle. My lookbook used different size cut pages to emphasize the shapes and lines I used as inspiration for this look.

 

Great work, Fiona!

Design II final project presentation: Drew Fransler

Instructor Henry Mateo is known for going above and beyond the call for his students, and this past quarter was no different. Henry arranged for his Design II: Collateral Communication students to share their final projects at Brand Knew where notable guest critiquers from the LA design scene were on hand to give our students feedback.

Student Drew Fransler shared his work with us:

Name: Thirsty Spaniel Brewery & Public House

 

Drew says:

Thirsty Spaniel Brewery & Public House is exactly what it sounds like. The pub’s purpose is to drive business to its line of beers sold at liquor and grocery stores, which it does by offering beer flights and complimenting with a menu of updated classic pub fare. Its aim is to offer a great product and experience of authentic, high-quality food and beer served without pretension. Located in the Chicago suburbs, its clientele is a mix of married and single people of middle class backgrounds and better. It does a brisk happy hour, catering to commuters arriving at the nearby train station. On weekends, particularly over the lunch hour, it is a family- and dog-friendly neighborhood gathering spot.

The branding is designed to be simple, impactful and versatile to play well with a broad range of packaging designs and color palettes. The beers carry a primarily canine theme and the six pack cartons are designed for maximum shelf presence. Similarly, the cans and bottles are designed to have enough presence to be distinguishable at a tailgate party or backyard cookout. The two mortal enemies of fresh beer are air and sunlight, and cans are most effective against both. Smaller-batch special edition beers are bottled. The Dimension Triple IPA bottle is an anaglyphic 3-D image (contact me for a free pair of 3-D glasses).

The menu is designed to accommodate the entirety of offerings in one piece of collateral. Food on one side, beverages on the reverse. When attached to a clipboard, the beer menu is the serving mechanism for beer flights. The beer list is organized in a matrix from light to heavy and malty to hoppy, which allows for selection and shows how each beer relates to others. Tray liners and wraps are designed to reinforce the brand without competing with the presentation of the food.

 

Great work, Drew!

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