When a student forwards me artwork from another student because she is so taken with it, I know I’m in for a treat.
Such was my luck last week when I learned of Shyh-Shiun Jerry Wang’s “dot matrix” assignment from his Typography course with instructor Andrew Byrom.
Students were asked to create a dot matrix alphabet from something they saw around them, and Shyh-Shiun chose to use the UNEX Fall 2011 catalog cover designed by DCA instructor Masaki Koike. The quarterly catalog certainly is a ubiquitous fixture here at Extension, so it was so rewarding to see Shyh-Shiun’s clever reinterpretations:
Looking to get out of the classroom and study in a dynamic L.A. design studio? This winter, acclaimed designer John Clark will teach the new two-weekend, 4-unit workshop Typography: Coin Design Workshop at the Looking studio in El Segundo.
Coin casting and prototypes by John Clark. From l-r: aluminum positive casting, urethane positive casting, and wood prototype
We asked John to tell us a bit more about the course:
“This class is a type class at its core. It has been configured as a coin design class in order to bring in all of the issues of three dimensional type, as well as the additional component of bas relief sculpture.
The class is conducted at the Looking studio in El Segundo. We have two in-house workshops, fully equipped for sculptural and casting work. Students will only be requested to bring their personal tools for measurement, drawing and cutting. A digital camera and sketchbook are also recommended. We have an extensive in-house library for research or reference questions.
From a process standpoint, this workshop is offered as distinct alternative to a conventional semester class. During the first weekend all students will develop an original concept, and develop a final compositional design by the end of the second day, and will begin their three dimensional positive sculpture. On the second weekend, students will complete their sculpture, create a silicon reusable casting mold, and on the final day cast their coin in solid urethane.
While the studio setting provides many of the practical items necessary to create the work, it is also very important to impart to students that for many assignments more time does not make the project better. The group dynamic is intended to let each student learn from one another. The strict class limit of 10 is intended to ensure that each student gets quality learning time with both the instructor and the other students.
Lastly, quality breakfast and lunches are included, healthy snacks and drinks will be provided throughout the weekend sessions.”
From left, wood positive, silicon negative mold, cast urethane positive
Here’s what students have to say:
“John was great in providing guidance and new techniques that students usually don’t think about. It was obvious that he is really passionate about design. He was also very open to answering any questions we had about the field of design.”
“Highly effective, almost perfect.”
“John was an excellent teacher. He gave us so much valuable information and experiences. He created a wonderful, nurturing, and interactive learning environment.”
“At its core, design is about relating to people and responding to human needs. Business is supposed to be the same thing, but it can also become a selfish pursuit to accumulate wealth and power. This often is where the division between design and business begins.
The reality, though, is the business world needs more designers. Unfortunately, many designers are either timid to enter this domain and/or reject the conventional idea of profit over customer satisfaction. However, the two don’t have to be mutually exclusive; in fact, the better businesses in our communities are able to achieve both.
Business and Design: The How-To of Making them Work Together demystifies business, and presents the development of a business more in the language and process of a designer. Instead of mistaking business for creating opportunities to make money, this course shows you how business is about discovering and understanding the nature of where people and products/services align for a mutually beneficial relationship.
Many of the tools and exercises in the course play off of the designers existing core skills. For example, in order to identify the right price for your product or service, the easiest way is to visually map the alternatives by form, function and objective.”
Here’s what Scott’s previous students have said:
“Scott teaches a complex subject with a clear, concise, and organized method. He is accessible, patient and communicative. I cannot say enough good things about him as a teacher.”
You can enroll online or by calling our registration dept. at 310-825-9971.
Vive la office supply? One of my oldest friends works in the Parisian office of liquid natural gas utility GDF-Suez. Serious business, right? Making decisions that affect energy consumption on a global scale? More like making innovative design decisions on a very local scale, using those ubiquitous blocks of color with the sticky edges, Post-Its.
Here’s a rendition of Marilyn Monroe:
And Gromit, of Wallace & Gromit fame:
The building’s facade gives you a better sense of the scale of the time wasting-ahem-project:
But it doesn’t end there. Neighboring office buildings weren’t going to stand around with stacks of perfectly good Post-Its behaving on their supply closet shelves. Fifty employees of Societe Generale, the bank, stuck 9,000 notes in eight different colors to create a huge six storey representation of Asterix and Obelix:
The take away? The next time you visit your French banker or utilities representative, for a festive and well-received gift, consider preseting him or her with a stack of Post-Its.
We’re proud to welcome Benjamin Anik as your new AIGA student group president! If you haven’t already, be sure to join the AIGA UCLAx Google group by emailing firstname.lastname@example.org.
Here’s a bit more about Ben as well as what’s in store for the AIGA UCLAx community in the New Year:
Tell us a bit about yourself and what led you to the DCA program.
Having gone to Undergrad as a studio artist at UC Santa Cruz, I knew I wanted to be in an artistic field. What led me to the DCA program was that when comparing similar programs at other schools, they all seemed very competitive and I felt that all the students were creating the same projects as one another, nothing unique.
At UCLAx I got the feeling that the program was more about helping me become a better artist and a better businessman. The DCA program not only has you creating a great portfolio, it also gives you experiences that are similar to those you will find once you leave the program. Real world skills with great tools as well as great portfolio pieces.
Are you focusing your studies in one area or are you still exploring?
With the opportunities at UCLA Extension, I would hate to limit myself to just one field. I make sure I take a wide range of classes that the DCA program has to offer, ranging from Print to Web Design and Photography to Package Design.
When I leave the program I will be able to take on any clients’ design requests because of the many skills I have learned as well as the business experiences I have encountered.
What can students expect for potential upcoming events this winter?
Students can expect a wide range of events coming up this year. From Group Workshops to help students understand multiple solutions for a single problem, to Field Trips and Guest Speakers that can show the unique perspectives of designers all around us.
If students have ideas for events or studio tours, how can they reach you?
I am always available by email at BenjaminAnik@gmail.com for any questions regarding the program, teachers, classes, and events. I would love to hear what other students think and hopefully be able to answer all their questions and concerns.
When I am on campus, which is frequent, anyone can feel free to approach me and I will gladly talk with them.
WHAT: UCLA Extension instructor Andrew Byrom sits down with Deborah Sussman to discuss her celebrated career and their recent collaboration curating and designing the current A+D Museum exhibition: Eames Words. Chairs will be arranged with-in the exhibit space, giving the audience a unique opportunity to see the work as it being discussed.
WHERE: A+D MUSEUM, 6032 WILSHIRE BLVD. LOS ANGELES, CA 90036
WHEN: Thursday, December 8th from 6:30 – 8:30PM
Deborah Sussman started her career working with Charles and Ray Eames. During more than a decade at the Eames Office, she worked on seminal exhibits for IBM, the Government of India, and the Ford Foundation. She later opened her own studio and was joined by husband Paul Prejza in 1980. Sussman/Prejza & Company are at the forefront of environmental design working with Walt Disney Resorts, The Gas Company of Southern California, Hasbro Inc. and on the identity and environment of the 1984 Los Angeles Olympics. Sussman is a former AIGA board member and was the founder of AIGA Los Angeles.
Andrew Byrom is a graphic designer, typeface designer, and a Professor at California State University Long Beach. His clients have included The New York Times Magazine, Sagmeister Inc., and Pengiun Books. Byrom’s experimental type design has been honored by the TDC and AIGA – and can be seen in the December issue of Print Magazine and on the current UCLA Extension catalog cover.
$7 Student (w/valid ID)
A+D Members FREE
Image of work done with previous intern, Sara Vadgama
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 Design Studio at the Getty will offer a fully set-up MAC workstation for the successful student candidate. The Internship position is 16 hours per week. The work must be carried out at the Getty Center Design Studio. Allocation of hours can be flexible —ideally the intern would be here two 8 hour days per week (8:30 – 5:30 with a 1 hour lunch break), and option 2 would be four 4 hour days (8:30-12:30 or 1:30-5:30).
•Working knowledge of InDesign and CS4 programs.
•Ability to generate a design solution quickly and carry it through to completion.
•Strong communication skills.
• DCA certificate candidate.
Send your resume, cover letter and three work samples to email@example.com by Friday, Dec. 16. I’m happy to help you prepare your application and answer additional questions or put you in touch with past interns.
UCLA Extension Design Communication Arts instructor Masaki Koike won a Grammy Award in 2008 for his design of the “What It Is: Funk Soul & Rare Grooves” box set from Rhino Records. He sat down with UCLA Extension’s Karen Lauritsen to talk about the design project and the “Design Fundamentals” course he teaches at UCLA Extension.