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Innovation and Real-World PrepaCtion This year marks the 10th anniversary of Otis’ departments to work collaboratively on site- Otis prepares diverse students of art and design to enrich Digital Media and Toy Design departments. At based community projects that involve experts our world through their creativity, their skill, and their vision. their inception, both programs were considered from fields other than art and design. Founded in 1918, Otis is L.A.’s first professional school of visual arts. Otis’ 1100 students pursue highly innovative. Toy Design today remains The undergraduate Fine Arts department BFA degrees in advertising design, architecture/landscape/interiors, digital media, fashion design, one of only three such programs in the country. offers the Artists, Community and Teaching (ACT) graphic design, illustration, interactive product design, painting, photography, sculpture/new The rise of these departments to the top of their program for students interested in careers in genres, and toy design. Graduate Studies are offered in fine arts, public practice and writing. Alumni respective fields within a decade is remarkable. art education. In addition, the Otis Teenagers shape contemporary visual culture—from fine arts to the Hollywood screen, from the clothes we Digital Media students have routinely swept top Educators Artists Mentors (O TEAM) initiative wear to the toys that engage our children. prizes at national and international competitions, offers low-income Los Angeles youth an after- and young Toy alumni have created industry school academy in digital media that provides trend-setting toys. This issue of OMAG features skill-based media arts education and a 2007 Vol.3 In This Issue: a look at Digital Media and Toy Design at ten, path toward higher education. These and other as well as success stories from our graduates. efforts have earned Otis a place in the inaugural 02 12 Several Otis trademark factors underpin group qualified for the Carnegie Foundation Digital at Ten Toy at Ten the achievements of these departments: strategic for the Advancement of Teaching’s Community President Samuel Hoi with Scholarship Benefit Honorees development of new programs that respond to Engagement Classification — as the only art Jaque Hall and Paul Fitzpatrick of Macy’s the needs of industry and society; a pedagogical and design college to be included. 18 Otis Monitor 24 Alumni Around the World balance between blue-sky creativity and work- Otis’ educational mission and impact are What Matters? Paliknoa in Kosrae place know-how that enables young professionals recognized by major funders. Recent grants from Creative Economy Report The Story of Relics to innovate in a real-world setting; and active the National Endowment for the Arts (NEA) and Recipe for Collaboration Three Spots partnerships with industry leaders to provide our the Annenberg Foundation provide resources students with top faculty mentors, internship to offer scholarships to financially challenged opportunities, and employment upon graduation. students. The James Irvine Foundation has 26 College News 32 Class Notes In addition to connecting students with also awarded the College a grant for leadership ACT Lessons Entrepreneurs, Award-Winners, professional opportunities, Otis is committed to advancement, including the research for a More on Wikis and Podcasts Cool Designers, Soloists, Entertainers, providing students with a socially aware and strategic diversity plan. Editor: Margi Reeve, Squint Alumni In Print, In Memorium Communications Director diverse educational experience. This fall, Otis An Otis education is distinguished by a A Constant Presence launches a new graduate program in Public fruitful combination of innovation, optimism, Co-editor: Sarah Russin, Alumni Director Student Awards Practice that explores new artistic strategies and diversity, and opportunity. Photography: Kristy Campbell, Commencement ’07 practices based on social engagement and activism. Mark Caneso, Scott Canty, Public Programs Jessica Hayes, Lee Salem, James Stiles At the undergraduate level, Otis’ Integrated —Samuel Hoi, President Front Cover: Eric Urquhart (’07) Contributing Writers: Susan Martin and Learning (IL) curriculum extends the classroom Veggie Land, 2007, digital color print from George Wolfe, Freelance boundaries by requiring students from various the exhibition in the Ben Maltz Gallery, “SIMS: In the Hands of Artists,” July 14- Creative: Intersection Studio August 11. Students created work inspired Design Direction: Greg Lindy © Otis College of Art and Design Design: Mark Caneso (’04) by the popular game for a competition Publication of material does not necessarily indicate endorsement of the author’s viewpoint sponsored by Electronic Arts. by Otis College of Art and Design Otis College of Art and Design Back cover : Commencement ’07 Tenth Anniversary of the DigiAl Media DepaBment

Digital Media has evolved over the last ten years as the industry changes and grows. The department’s primary goal is to strike a balance between traditional art and technology, and individual vision and teamwork. Video Game Design, the most recent addition to the curriculum, trains concept artists, modelers and animators. Motion Graphics express personality in all aspects of the entertainment industry. Visual Effects enhance narrative and immersive experiences. 2D Design emphasizes image and text manipulation, and 3D Design encompasses animation and model making. Together, these five elements of the curriculum prepare students to respond to rapid changes in technology. FEATURE FEATURE

Chair Harry Mott interviews Lord of the Rings visual maDermind Jim Rygiel

All audiences, even soap opera viewers, are used to the fantastic. What distinguished Lord of the Ring’s visual effects in the history Where do you think special effects are going? of our industry? With the advent of boxtop renderers (PS3, Xbox, Wii), hardware is get- When I first met with Peter Jackson, I told him that I wasn’t a huge ting faster and faster, so that soon I can see sharing of assets around fantasy film buff, but that my goal would be to make the fantasy the globe, to create a virtual YouTube of real time animation ongoing in worlds real enough so that the viewer would wonder how to book an real time. airline ticket to the world we were creating. It was a pivotal point in time where technology was advancing enough to allow us to create the What can the visual effects houses and artists do to keep wowing level of worlds that we wanted. Gollum was a good example of this, people? Has the industry reached a plateau? where software and hardware allowed us to achieve a character not Software and houses come and go—it’s the artist and the idea that keep previously realized. Making wowing us. It essentially all boils down to “a vision or idea,” and with digital filmmaking that vision is literally right at our fingertips. Are sound and music areas for growth and cooperation? Sound and music certainly give the effects that we do the necessary What would you recommend to students here and afar who want impact needed to enhance the shot. For instance, if you saw a clip of to become visual effects artists? an explosion, with ground-shaking sub woofer bass, and saw the same Too often students come looking to learn software. We try to get them shot with the sound turned off, your experience of that clip would be to learn the concepts and principles of art, design and storytelling. enormously different! In terms of a component of visual effects, I rely on it but don’t necessarily utilize it. What would you tell students to learn in and out of school? What kind of studies should they undertake? Where should their con- What are you working on now and what is in the future for you? centrations be? What kind of people skills should they develop? I am currently directing commercials, and have just signed on as Give me a piano, and I would be the worst piano player you could ever visual effects supervisor for The Voyage of the Dawn Treader, the 3rd in imagine; give the same piano to Chopin, and he would play a master- the Chronicles of Narnia series. piece. The point is the software is just a tool that can be technically mastered by anyone; it’s the internal visual concepts that are of greatest What are some recent films that you especially enjoyed? importance. Analyzing a shot in a movie to determine what is or is not Pirates, Casino Royale, and I am very excited about seeing Transformers! working, in terms of its look, is where the concepts of design, color, and composition come into play. What are your all-time favorite films? 2001, Mad Max, Road Warrior, Shawshank Redemption, Fargo, Sling Blade Real Alex Alexieff, who developed pin screen animation with his wife, and of course the Lord of the Rings trilogy! Claire Parker, commented “You will find more inspiration, more suggestions in all fields outside your own. Look to poetry, science, Nostalgia question from Sarah Russin: Can you share some of music, psychology, astronomy. Anything. Anything. From these your early Otis experiences with video? Didn’t you collaborate alien fields may come inspiration unexpected by you, which will with classmates Bruce Yonemoto and Jeffrey Vallance? enrich you and give you more raw material than thousands of We had the luxury of using the fantastic reel-to-reel portable. (pg. 2) screenings of your colleagues’ works.” I can’t remember a day that we weren’t helping each other out preparing I completely agree with this and, in fact, have based my life on it. I take for a show. When I went into digital animation, Jeffrey Vallance wanted this even one step farther. Apart from looking to the arts and sciences a little help on a video he was putting together called Blinky the Friendly for inspiration, I also look to my everyday mundane tasks of gardening, Hen, based on a book that he produced, so I was doing a little digital cooking, cleaning, and paying bills, and attempt to find the aesthetic video animation for him on a $15 million Cray XMP supercomputer! aspects. Art is Everywhere and Everything!

Where does innovation come from in this field? Innovation is always driven by the idea. If films didn’t push the enve- lope in terms of effects and looks, technology would probably be 10 years behind. With almost every film I have embarked upon, we went in having no idea of how we were ever going to accomplish some of the things at we intended. But put a bunch of brilliant and creative artists and scientists together, and it’s magic!

Jim Rygiel (’81, MFA)

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Gaming for EduAinment

By Brock Ramirez

When I graduated from Otis in 2005, my main focus of study was character animation. Currently I work for a company called Knowledge Adventure (KA) in Torrance, CA. I have been there since October 2004 of my senior year. KA is an edutainment company that produces products that contain elements of today’s platform games mixed with educa- tional and learning content. Major current titles include Math Blaster and Jump Start. Past titles include Barbie Fashion, Jurassic Park, and American Idol. I am one of three animators, and act as the senior technical director, which puts Gilbert Martinez, Brandon Martynowicz, Mike Lee, Chin Ko me in charge of setting up rigs so that the other animators and I can properly animate the characters. A day in the life here at work can range from extremely laid back and goofy to energetic and stressful. We are all properly equipped with Nerf dart guns to execute office justice to unsuspecting coworkers, or (if team members prefer the non-human variety) inflatable animals and objects that are available for target practice. Also, every Friday ends with an all-out match on Counter Strike Source. “I classify myself as an old The benefit of working on children’s games is that as an animator, I am greatly influ- school gamer. I enjoy quirky enced by animation as a 2D cartoon medium. Most adult audience games require realistic animation that makes me yawn. With cartoon games, not only do I get to avoid unneces- action and puzzle games sary violence, but I also create fun, energetic, bouncy characters. There are no limits to realism when I want to make them do something. I am a huge advocate of pushing that don’t rely heavily on animation to make things seem “more alive” than reality. The only downside that I Geeks No More find in a child-oriented company is everything has to be politically correct to the extreme By Gilbert Martinez photorealistic graphics.” in order to avoid offending anyone. During the three years I have been here, I have hired four Otis alumni: three from It’s been a little over a year now since I came up north to the Bay Area to work at my graduating class and major (Ty Viveiros, Chris Marsh, and Suzan Kim) and one from LucasArts, and it feels great to be able to share my post-graduation experiences. Communication Arts (Lance Thatcher). I have worked on four titles that have been LucasArts is the game development arm of Lucasfilm Ltd, located in the beautiful San released, and am currently working on four more. In all titles I am credited as animator and rigger. Francisco National Park Presidio that overlooks the Bay and the Golden Gate Bridge. The greatest thing about my work is that I am one of the few people who, when I am currently a 3D artist on the environments team for the game Star opers. Games have gone corporate! Although we don’t wear suits asked what I do, can honestly respond with a smile and say that I love going to work each Wars: The Force Unleashed. Before this I spent a year working on the and ties, we do work in offices, have 401(k)s, make salaries, and have and every day (or at least I never regret going to work due to the type of work I do). Be Indiana Jones game for the Playstation 3 and Xbox 360 (release date to medical benefits. sure that fact rings true with you. be announced). My primary role as an environment artist is to create Otis was crucial in preparing me for life in game development. I the digital 3D environments that players immerse themselves in when came to Otis knowing next to nothing about what it took to be a work- they play our games. For SW: TFU this means making the futuristic ing artist in this business. In fact, all I knew when I enrolled was that worlds of the Star Wars Universe: enormous imperial factories, deadly I wanted to learn 3D and work in games. I didn’t know what kinds battle arenas, alien worlds and the artifacts that inhabit these spaces. I of job opportunities were out there or what it took to get in the door. model them, paint them, light them, and place them in the game to Throughout my stay at Otis I had a chance to read about, meet, and ensure that they look good, feel right, and run efficiently. This is the be taught by professionals from many different media companies who most unique part of our jobs as game artists; we need both an artistic shared their experiences and advice. These individuals and their eye and a savvy technical left brain to ensure that we do not exceed the feedback helped me learn what it takes to be successful at what I do. limitations of the engines that run our games. At Otis I learned a mix of creative, technical and social skills I have been a gamer since my early teenage years back in the days necessary to perform my daily duties here at LucasArts. Beyond simply of Pong and the Atari 2600, and I have been playing games steadily learning graphics programs, we were also taught how to problem ever since. The only time I stopped playing games was while I attended solve and work together as a team—how to speak up, share, and listen Otis so that I could stay focused on my studies. I classify myself as an became second nature. old school gamer. I enjoy quirky action and puzzle games that don’t I have returned to campus each year with company representatives rely heavily on photorealistic graphics. Some of my recent favorites are to recruit talent from the graduating classes. Last year I staged a major Katamari Damacy, God of War, Bully, and the latest Zelda game on the coup by referring three of the top graduates—Mike Lee, Chin Ko, and Wii console. Brandon Martynowicz—who went on to make it, with flying colors, In the early days of games, being a gamer was considered geeky. through LucasArts’ rigorous hiring requirements. Things have changed in the last few years. Everyone is enjoying interac- Like Otis, this company is composed of individuals from all over the tive entertainment whether it’s on a PC, a home console, a handheld world and all walks of life. It will continue to grow as the medium of device, on the web, or even on a cell phone. The business has grown interactive gaming grows. And we are growing along with it. The oppor- Chris Marsh, Suzan Kim, and Brock Ramirez, all ’05 from the days when two guys in a garage could create a blockbuster. tunity to watch the company expand and the responsibility of working It can now take one hundred people, two-to-three years of incubation, on two of the world’s most well-known franchises is both exhilarating and over 20 million dollars to create a headliner game title. What this and frightening at the same time. means is that many of us can now make a decent living as game devel-

OMAG 06 07 OMAG OTIS MONITOR OTIS MONITOR Recipe for CollaboCtion by Parme Giuntini, Director, Art History Take two Otis faculty members: one art historian trained in 18th-century portraiture, gender and social history (but enamored with fashion and pop culture), and one fashion illustrator who is also a fine artist, a writer, and equally interested in fashion. Mix lightly at various Otis events for a few years, giving the two time to discover their mutual Three Spots interests, time to bridge the gap between studio and Liberal Studies boundaries, and time to develop and team-teach a course on fashion and art. Yamandú Canosa, born in Uruguay and now living in Barcelona, was the Jennifer Howard

Add one large dose of creativity, three years of research and writing, GARB at our first meeting; and when I first walked into Kathryn’s house Coleman Distinguished Artist in Residence in Fine Arts in fall 2006. Otis thanks the and a commitment to collaboration. The result is "GARB: A Reader and saw her painting Armored Figure hanging on the wall, I knew that Samuel Goldwyn Foundation for its support of this residency. Canosa's exhibition, “Three on Fashion and Culture," which features the combined work of Parme we had our cover art. Spots,” at the Ben Maltz Gallery, included a site-specific wall mural as well as paintings Giuntini and Kathryn Hagen, as well as a host of essayists (many of Writing and editing a book together is a bit like co-habitating: whom are Otis faculty members). To be successful living with someone else’s mind, there has to be suffi- and drawings that depart from his concept of landscape as perceptual experience. Collaboration and interdisciplinarity are currently two key buzz- cient space for sharing as well as independence, an ability to recognize words on college and university campuses, and for good reason: and capitalize on each other’s strengths and expertise, and the flexibility Below are excerpts from an interview done for Otis’ Web site, and responses from some of the Fine Arts students whose studios he visited. They enrich our understanding of any issue in a globalized world that to blend divergent positions into a cohesive whole without jeopardizing embraces a multiplicity of positions and options. Theoretically, faculty the critical (and often divergent) points. These factors are doubly Where are you from? • Yamandú spoke about painting as having a reference outside itself; from different departments and disciplines should spend significant important when the collaboration is interdisciplinary because incorpo- After years of living in Barcelona, the subject of identity has become the larger idea that is the context for work. time engaging their colleagues in discussion pertinent to their interests rating different areas of expertise always means a negotiation of more important. If you ask me if I feel like a Latin American artist living • Our discussion of space and perception was of much use to me since — this will invigorate both their work and their students’ work. That is, interests and priorities. I suspect that is why when we look back over the in Spain or a Catalan artist in Barcelona (since I have been there for 30 I am also an installation artist. of course, an ivory tower myth. The reality of faculty life anywhere is a past three years of working together, our fondest memories — and the years), I don’t have an answer. I am always thinking about it. People in • I appreciated the fact that he is Latino, has lived in Europe, and is haze of prepping for classes, teaching, working with students, partici- reason that we want to collaborate again — will always be those summer Barcelona notice something Latin American in my accent, and when I very worldly. He has a wise, informed, international point of view. pating in meetings, and handling ongoing departmental responsibilities; days when we pushed back from the computer and talked through visit Uruguay, people think I am from Spain. Perhaps my accent comes • I was lucky to have a two-hour, one-on-one critique with Yamandú. opportunities for faculty to indulge in purely intellectual conversation different issues. They were challenging discussions and we often dis- from a big boat in the middle of the Atlantic! This could be a good His interpretation of my work was extremely helpful, and his words of are rare indeed — and that’s within one department. It’s doubly difficult agreed, but we always came to better conclusions as the result. “GARB: metaphor of my experience and that of other artists who are immersed wisdom and objective looking confirmed that I am right to follow my to find time to engage colleagues in other departments. So when it A Reader on Fashion and Culture” is a testament to our shared belief in a variety of cultural contexts. instincts. His thoughts and discussion as well as his reaction to my does happen, we cherish the interaction. and determination that the ivory tower myth can become a reality. What music do you like? work in progress gave me confidence and helped cast away my shadow From initial conversations about fashion, the myriad meanings that I listen to a lot of Brazilian music like Caetano Veloso’s, also flamenco of self-doubt. clothing can communicate, and the intriguing crossovers that we saw music with jazz. I like the complexity that comes from mixing styles. • In five years, this was the first time I met with a Spanish-speaking between fashion, design, culture and fine art, Kathryn and I proposed What do you think of Los Angeles (since this is your first visit)? professional artist about my work. It helped me to communicate elo- a team-taught art history elective that addressed these issues. Team- L.A. has this very mixed culture, but Barcelona is also a Babylon. All the quently to Spanish speakers. teaching is expensive — two salaries for a single class but, at its best, big cities in the world are starting to have a multicultural atmosphere it offers some undeniable benefits: the opportunity to bring divergent with immigrants from around the world, and it brings problems but it points of view into the classroom and engage both each other and the also produces a vital culture that grows. Here you have other popula- students in a lively exchange of ideas. When it works, it is extraordinarily tions that we don’t have in Europe, but I think it’s helpful for the immi- successful; but it depends on the ability of the instructors to share the grants to find their place. I believe that making sense in another place classroom, to play off each other’s ideas and personalities, and to by asking big questions is what great artists do. What are the questions disagree in a collegial manner. Kathryn and I found it an exhilarating the work is asking you, and what is the quality of the questions? experience. We enjoyed the give and take and, after two years of teaching the class, we realized that many of the issues we were raising dove- Fine Arts student responses tailed with concerns that the students had about fashion and culture. • Yamandú brought an external perspective into my studio, and was We hatched the actual idea for the book at one of our innumerable able to focus on certain problematic aspects of my practice. All Otis breakfast meetings in the summer of 2003, and within a few months students would benefit by more dialogues like this one, which intro- we pitched the idea to Kathryn’s publishing contact at Prentice-Hall. duce variety in context and substance. Although we made some changes in the conceptual framework of the • Seeing Yamandú’s drawings and how simple and beautiful they were book, we always intended to invite outside essayists from a variety encouraged me to begin drawing again. He gave me feedback about of disciplines. Our writers ranged from poets to art critics, illustrators to how to push one of my unfinished pieces further. I also became inter- Parme Giuntini and Kathryn Hagen Yamandú Canosa (center) installing the exhibition “Three Spots” in the Ben Maltz Gallery. art historians, folklorists to practicing artists. We decided on the title ested in the idea of translation; how to make my ideas understood To purchase this exhibition catalogue ($25) and others, call (310) 665 6905. when there is a language barrier.

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Sleepless in L.A.

By George Wolfe

“All those years of not sleeping are definitely paying off now.” So says 2002 Digital Media alum Amy Kaufman Levy, who has recently been promoted to Head of Production at award- winning bicoastal creative production company Stardust.

But at times during her schooling, in addition to the the demand right now is high for animators and nature, and which focuses on the fundamentals of 18 units she was pulling at Otis, Amy was also work- designers, if you want to do 3D animation, really color, design and composition. A lot of the resulting ing 30-35 hours as a junior animator at a place just focus on that. Sometimes I hear people say ‘I imagery is still hand-drawn and scanned in, creating called Hornet plus nine hours of interning at Fox want to design and edit and do sound and get talent a magical, ethereal quality that happens to be hot Sports Net. and do motion graphics, etc.’ But it’s important to right now. Having already received a Liberal Studies degree focus on your passion.” As far as the future goes, despite the challenge at Grossmont College, and as a transfer student Then came the choice to freelance or stay with of constantly adapting to new technology and soft- from Cal State Northridge (as opposed to coming to a staff job. Amy moved on to freelance work at ware, Amy sees a constant appetite for advertising Otis fresh out of high school), Amy says her goal was 3 Ring Circus (as Graphics Producer), Exopolis, and that’ll continue to propel jobs in this market. to avoid a non-paying internship after graduating. Stardust (as Senior Producer). She got to the point of “Companies will always need to get product out She’d always had a sense that it was important to juggling roughly five commercials at a time, each there. In the next year or so, everything will be HD. get to work early. And that’s exactly what she did. with several million dollar budgets, sometimes com- A lot of work is going onto cell phones, like little Taking a liking to sports graphics, she built her posed of as many as 20 promos, and often filming promos and downloads onto iPods, and of course senior thesis around a Fox Sports Net 3D promo. around the world. the Internet, and also in-demand. That opens up all With plenty of experience under her belt at two “I just kept getting great jobs at Stardust, and kinds of doors since what we do can be useful with companies over the span of two years, she was in a getting the work done on time and within the budg- many different multimedia tools. In the next 10-15 prime position in terms of employment. Within two et. They finally hooked me in January ’06 as a full- years, we might not have magazines and fliers weeks of graduation, Fox promoted her to Graphics time employee, and I’ve been working there ever because everything will be online, but I don’t see Coordinator/Producer. “It all sort of trickled into my since. Over my freelancing years, and since, I’ve motion graphics going the way of print.” lap,” she recalls. recruited a lot of talent and built a huge roster, “I would recommend getting an internship early many of them from Otis.” on. With me, sometimes I’d be learning things at As Head of Production, her job no longer entails Student Michael Tavarez, a Digital Media junior, work, and be ahead of the class; it would definitely producing directly; rather, she makes sure things “KorpenfeDer” Tours the created this animation, inspired by the typography of help me problem-solve by simply applying what I’d go smoothly, production-wise, in terms of creative. Phillip von Rhoden. He used simple neon-like shapes learned in the workplace. I’d also advise students to Or as she says, “Basically, I kind of have my nose in Cosmos and the World to explore the processes of decay and regeneration, focus on design that uses software as a tool—develop everybody’s projects.” expanding from the human molecular level outward a strong background in design. Otis was an amazing Stardust’s particular appeal seems to come from to encompass the entire sweep of the cosmos. experience. They teach you everything; but there’s the fact that a large number of employees are art It was selected from 2,200 entries for Resfest, an a danger of spreading yourself too thin. Even though school grads who deliver work that’s organic in international festival of pioneering film and digital arts which traveled to 43 cities and six continents. www.michaeltavarez.com/portfolio/Animation/ korperfenster_med.html OMAG 08 09 OMAG

by Deborah Ryan, Chair

Over the past 10 years, the Otis Toy Design program has gained worldwide recognition as the place to go to find talented toy designers. Los Angeles, the hub of the toy indus- try, is home to Mattel, the world’s largest toy maker, and has spawned hundreds of other Southern California toy companies.

As a result of the close proximity, the department faculty members are A career as a toy designer carries a great deal of responsibility industry professionals who are experts in their field. The comprehensive because of the important role toys play in children’s lives. At Otis, we design curriculum includes all the major toy design categories of plush, teach students that social consciousness is an important part of being preschool, dolls, action figures, toy vehicles, and games. Classes in child a toy designer. Toys are an important part of our history and culture, psychology and development, marketing, engineering, model making, and have existed since ancient times. Imaginative play is not only fun, digital design, computer rendering, packaging, presentation, and con- but psychologists have proven that it is also crucial for the develop- ceptual drawing and illustration complement the design curriculum. ment of high-level human skills such as decision-making, socialization, Students use the newest technology available in the industry, including and creativity. In primitive cultures where no manufactured toys rapid prototyping, whereby they draw on the computer and a machine are available, children play with everyday objects and make them into prints the actual model. The students also receive valuable practical imaginary friends and enemies, and create games and puzzles. experience in summer internships at toy companies. When they gradu- At the turn of this century, MGA introduced an ethnically ambigu- Toy ate, they have an extensive portfolio of work, and display their work ous doll line called “Bratz,” which captured a huge market share of the at the end-of-the-year exhibition in a showroom setting much like the New York Toy Fair. Otis’ Toy Design Department has such a powerful reputation that hundreds of toy industry representatives come to this A career as a toy designer carries a exhibition to recruit graduating seniors. With graphic, product, and great deal of responsibility because digital design skills, the toy design graduates are prepared to work in almost any area of children’s product design. Some other colleges of the important role toys play in have offered classes in toy design, but they cannot compete with the children’s lives. At Otis, we teach comprehensive curriculum that Otis offers, combined with a liberal arts education. students that social consciousness As the toy industry has grown in its size and the vast array of cate- is an important part of being a at gories and types of products, there is a need for designers who have specialized skills. I began my career in toy design more than 20 years toy designer. ago. Like others in the industry at the time, I did not go to college intending to be a toy designer. I graduated from the University of Cincinnati, College of Design, Architecture and Art, with a Bachelor of fashion doll business. The culturally and ethnically diverse student pop- Science in Design. One of my internships was at Kenner Toys, where I ulation at Otis is well prepared to express cultural and societal shifts in designed plush characters and fashion dolls. After graduation, I had the the toys they design. Our toy design students are an almost equal mix amazing experience of designing women’s clothing for Gianni Versace’s of males and females as well, and their designs reflect changing ideas ready-to-wear line. The job required that I travel to Los Angeles, and about gender in our society. In the action figure class, students design on one of my visits I saw an ad for a designer at Mattel. I applied for female action figures that are strong, empowered heroes, equal to their the position and was hired as a toy designer. There I was able to use my male counterparts. fashion design and industrial design skills to create toys with features. Modern toys vary from the simple to the technologically complex, None of the designers I worked with at Mattel were trained as toy and provide children with fun and fantasy, while teaching social norms. designers, nor did they think that this might be their career when they The modern toy industry produces products that reach a worldwide were in college. They came from a variety of backgrounds including audience, creating new trends in toy design. automotive design, industrial design, fine arts, fashion design, graphic design, and engineering. We were self-taught or learned from each Tenth Anniversary of the other, sometimes saying we were at “Mattel College.” In the past Toy Design DepaBment it took many years on the job to acquire the skills that toy designers Ten at Otis have upon graduation.

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Dream Job: By Scott Derman (’05) Q & with faculty members A Mark Taylor & Candace Lavin

What is unique about the L.A. toy design industry? CL To support L.A.’s toy companies and their designers, there are many model making From Santa’s and prototype studios. A toy design can quickly go from a thumbnail on a scrap of paper to a working sample in a matter of weeks. MT Toy design in the Los Angeles area differs from the Midwest and East Coast toy businesses largely because of the influence and proximity of the entertainment industry. Ruth and Eliot Handler, founders of Mattel, were the first to exploit this relationship by blitzing the American toy demographic with products from Disney’s Mickey Mouse Club TV show. These brands quickly outstripped the “old line” toy company products. Workshop to The concept of designing brands instead of items was an outgrowth of this part- nering with entertainment properties. Mattel, with their advertising agency Ogilvy Mather, led this trend, but all toy companies got on the licensing, branding and cross- promoting bandwagon. This partnership dominated the market through the late ’50s, ’60s, ’70s and into the early ’80s. The predominance of marketing throughout the toy development process (design) is stronger on the West Coast than anywhere in the nation. Toys are primarily designed Pixar Cars for maximum visual appeal rather than extended play pattern. Every feature must pay its way in advertising results. Other toy companies see the product as the innovative Ten years ago I knew I liked to make art, but I really had no idea what realis- core and depend on promotion (advertising) to find a way to sell it. tic options I had to pursue my artistic ambitions. It wasn’t until my senior year of high school that I finally chose a path that would ultimately lead to What are the objectives of sponsored projects such as the spring 07 “Hot Wheels” studio with Mattel, both for the students and for my “dream job.” the sponsor? MT Students were able to work with a large, successful brand while maintaining their student autonomy, producing state-of-the-art creative, professional and exciting pre- My teacher and mentor Barbara Katchen worked with me to quality and engineering. LEGO bricks that are generated today of my designs make it to the shelf. I am currently working on sentations to Mattel Hot Wheels, Matchbox and Tyco management. develop my portfolio, and came to me one day with a will stack with a brick produced in 1960. The secret is the high Pixar’s Cars and helping to develop new exciting brands that are 1. Mattel management (Matchbox and Tyco) leaders saw fresh new vehicle con- brochure for Otis’ toy design program. Needless to say, I was quality and attention paid to the tolerances in the molds. still in the works. cepts from designers who were close in age to consumers, with minimal prejudgment very intrigued by the idea of combining my love of toys with Design and production are done within a few square miles of Overall, my experience at Mattel has been an enormously or bias. The designers were from wildly diverse cultural backgrounds. I am proud my passion for design. After I was accepted, it didn’t take each other to allow communication and synchronization with positive one. This is a company that is brimming with talent, and to say the girls did more than hold their own in this usually male-dominated brand; much convincing for me to pack my bags and drive 18 hours the factory. simply being a part of it has taught me more than I could possi- they kicked! from Aurora, Colorado to Los Angeles. My everyday duties included wandering the two giant bly convey. I am truly grateful for having the internship experi- 2. The Mattel managers were able to witness up-and-coming talent and judge the From day one, I knew my time at Otis would be an ardu- storehouses which house virtually every design of LEGO brick ences that I did. It allowed me to explore my passion without the effectiveness and practicality of the methods for their own use. ous journey that would test my devotion to the design process ever made. I stockpiled what I needed for the day, went back fear of complete responsibility. Having this attitude is what I 3. The Mattel design team provided feedback that inspired students to explore and the goal of a rewarding career. Early on, I saw firsthand to my desk, ate some cake, and proceeded to build for the rest think allowed me to succeed. Internships are a learning ground new types of designs and consider new product possibilities. just how exciting the toy design industry could be. Between of the day. I learned that most designers do not sketch their in which mistakes will teach you more than your successes. sophomore and junior years, I took a summer internship ideas; they build them. When designers develop a new adven- 4. Because the project was based in an educational environment with a “blue sky” Turbo Max Steel figure with Art Asylum, an action figure company in New York. I felt ture play set, they create revision after revision of construc- thought process, the Mattel design team could look beyond the basics, and consider Press the buttons on his back to students’ design approaches that would not emerge in a “strictly business” environ- punch for lights and sounds. somewhat like a small child wandering through Santa’s tion until the set is just right, altering colors, number of Build up his power and watch him Workshop. I had learned a few things the year before, but this pieces, how fast it can be built and the way everything fits ment. Product innovation and quality of concept were the important goals, without unleash his Turbo strength! was certainly an eye-opener. The designers who worked together. The time I spent in Denmark was some of the best the myriad of pre-conditions that exist in a large corporate environment. at Art Asylum were amazingly talented. And the deep well of my life. I traveled a lot within the country while I was 5. The competitive market research was open and extensive, and students often of knowledge they offered me whetted my artistic palette for there. I even spent a week in London by myself while everyone discovered and presented surprises and new business opportunities as part of the things to come. at LEGO was on holiday. It truly was the life-altering opportu- problem-solving process. The true excitement came when the internship postings nity I sought. CL They also meet 20 to 25 toy design students and discover a new, fresh pool of came around the next year. As I perused the corkboard of The following year, I was offered an internship in Mattel’s talent that will eventually be available to them as future employees. job listings, I couldn’t help but feel like I was shopping for games and puzzles department. I was eager to experience a Thanks to the open and helpful attitude of the Mattel (Matchbox and Tyco) life-altering opportunities. I noticed one that only graduating company that is wildly different from the two previous ones. designers and their generous critiques, the students received a gentle touch of toy seniors were applying for: a summer abroad working for For me, internships were like dating. You get to know a com- reality and a pat on the back. This is invaluable for their practical toy knowledge and LEGO in Denmark. After weeks of preparation and stressing pany without any real commitments: Get in, test the water, their professional pride, and it served as a very positive boost to their creative spirit. through mid-morning downtown L.A. traffic, I learned that poke around, learn a few things, and get out. If it happens to I had been offered a position at the top three companies be a match made in heaven, you sign the marriage papers and How is toy design responding to interactive technology? on my list, including LEGO. Before I knew it, I was winging earn a salary. When my Mattel internship was over and I was a MT Interactivity is the “Holy Grail” of play patterns and a constantly moving target. my way to the land of Tuborg beer and colorful stacking college graduate, I stayed on as a temp. I began touring the Finding the magic blend between the two camps of interactive technology is the trick. construction bricks. design center and exploring other Mattel opportunities, and (The “Tech Nerd” camp values the complex, difficult, chancy to make happen, abstract Living in Billund, Denmark was probably a lot what I was offered a full-time position in the entertainment design and vague but very unique.) The “We kinda been here before” camp premiates features Naruto Quick-draw Kunai set that have been done before so they can probably be done again (with a few new imagine life was like in 1956: Everyone rode bicycles and was group. Since my tour of duty began, I have worked on six dif- Strap the satchel of kunai daggers super nice. The company itself was an amazing machine of ferent brands, received two patents, and have seen roughly 15 to your thigh, then use the quick wrinkles). This approach evolves into a franchise blending into market mediocrity that draw hand strap to fire them out in encompasses many entertainment licensed toy products. continue » rapid succession.

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MT Is it magic? Is it fun? Does it have wonder? These are the real questions when CL American toy companies design their toys in a manner that follows the latest looking for the “Grail.” If we study the digital game business as an interactive trends happening fashion, technology and music. Asian consumers, especially in template with its mix of technology, icons and imagination, the standards are Japan, are often the people setting many of the new trends in technology. The set. The digital game market (yes they are really toys) is so successful that it is American companies “shop the marketplace” in Japan and in Hong Kong a regu- Shopping the world’s biggest entertainment business. Why didn’t we all see it? The arcades lar basis, always searching for newest look or idea. were always jumpin’. What advice do you give young people who want to become What are the most significant innovations in toy design of the last toy designers? few years? CL First and foremost, you have to be able to still think like a child, Using your for InspiCtion CL No longer is a child simply pushing an ON button somewhere on the toy and own imagination and making the emotional connection to remembering when waiting till the batteries run down. The new trend is to place chips into toys that you were a child and played with toys all the time. Is it fun, do you escape to become activated once the child takes the new toy home. The complexity of the another world when you play with it, does the toy keep pulling you back to play By Meleina Mayhew programmed information on the chip depends on the age level of the child. No with it again? Since graduating from Otis in 2000, I have worked with many of the matter how innovative the toy is, it must still allow for the child’s imagination to MT Feed your imagination with books, film and the internet. Most of all, learn leaders in the toy industry including Mattel, Lego, Applause, and Equity explore and discover new things. to really listen and observe, and not just about toys. Let your imagination run Marketing. I have also worked on a vast array of character licenses such MT The innovative move toward animatronics and heroic action figures for pre- wild and don’t let anything or anyone stop you. Find a good design school and as Hello Kitty, Sesame Street, Scooby-Doo, Finding Nemo and other school, and the iPod and iPhone (yes, they’re also toys) and “i” products that will completely lose yourself in your work. Just do it! Learn some stuff and then do Disney licenses. continue to follow them “outside the nine dots” and beyond it again. If you don’t like the doing of it, you’re in the wrong business. While at Nakajima USA, I led a team of designers that developed key art and supplemental products for the Sanrio stores and other How do American toy companies differ from those in Europe or Asia? How What was your favorite toy when you were a child, and what is your specialty retailers. We developed character stationery, gifts, jewelry different are the consumers? favorite toy today? If you have children, what are their favorites? and fashion accessories, even candy and chocolate! I worked with MT To my knowledge, no American toy company is subsidized, assisted by the CL Since I was very much the tomboy as a child, I always wanted to be outside Gwen Stefani to launch a line of Hello Kitty-inspired accessories for government or insulated by import taxes or quota limitations against foreign escaping to an imaginary world—the Wild West, a Medieval Castle or Robin her brand, Harajuku Lovers, which is sold in Urban Outfitters, Pacific competition. American toy companies only have three major retail outlets for Hood’s Sherwood Forest. So I played with the rocking horse, cap guns, swords Sunwear and other trend retailers. I also traveled quite a bit for injection-molded traditionally packaged toys: Wal-Mart, Toys R Us or Target. and shields and bows and arrows. I became characters from my favorite stories Nakajima USA, to New York, Hong Kong, Shenzen, Shanghai, Quingdao, European toy companies have broader distribution networks from large toy store and comic books. Now I collect action figures and resin collectibles of my Seoul, and Tokyo building relationships with factory staff, and solving chains to “mom and pop” shops, and they sell across seasons. American toys are favorite comic book characters and imaginary creatures like dragons. When I development issues. considered high priced and low quality by the rest of the world. When they are look at these toys, I sit back, close my eyes, imagine that I “live in the world” For the past year, I have been on my own, doing freelance and purchased, it’s usually because of a very popular license, such as a Disney enter- where these characters come from! consulting work. I love being independent because it allows me to tainment property. The three children I am with all the time are two, nine and eleven. work on so many different brands and product types. Lately, I have been American toy companies depend on huge quotas to support their brand mar- The two-year-old loves ANYTHING Elmo, from Sesame Street, and Berry Bear. designing girls’ and women’s personalized jewelry, revamping a cat keting, license acquisitions and overhead. Because of the accelerated obsolesce The nine-year-old loves her new American Girl Doll “Samantha.” She is food brand, and helping to launch an empowering accessories line. of styles and demand for new, fresh product on the shelf by the retailers, tooling even taking a summer school class about dolls. The 11-year-old boy takes his My design process stems from what I learned in the toy design budgets are astronomical. European toy companies tend to be rather small, and iPod with him everywhere and regularly downloads new music. program. I have been able to successfully adapt its principles to they can keep a toy unchanged in their line for years. They sell very small num- MT When I was a child, it was a pencil and paper. My favorite toy today is design many other products. Design is like solving a problem, and in bers by comparison to the American industry. European consumers also perceive my computer (yes, it’s both a tool and a toy). My all-time favorite toys are the consumer products, it’s the consumer who gets to realize the solution. toys as durable, something to be passed down to another sibling. skateboard, Frisbee, ““Big Wheel,” “Fast Traxx RC,” and “Masters of the Universe.” So I start out every project by doing tons of research. I scour the European and Asian markets are like our collector market: low profit, I have no children of my own but I have always tried to design wonderful toys, internet, looking at retailer sites, what DIY people are doing, and at low quantities, high tooling and low A to S (advertising to sales) ratio. They do for all children, all over the world, of all ages. runway fashion show images. I shop where my consumer shops. I skim not rely on marketing to drive their business but consider point of purchase magazines related to the subject. And as a sponge of information, I’m (packaging) their advertising. able to deliver to my clients what is on trend and show them where their product lines should be. From there, I begin sketching or creating design specifications that can be interpreted by a factory or vendor, Toy Design graduates have fun brainstorming, designing, and developing new concepts for toys that then do several rounds of sampling and commenting back and forth they can see on the shelves at stores across the U.S. Otis thanks Mattel Inc. and Disney for their support until the product is suitable for shipping. as Otis Corporate Partners who provide important funding and resources to our students and programs. As a designer or an artist, it is so important to stay inspired. If I’m not inspired, I just can’t do my job! So I surround myself with toys that I think are cool, keep on top of the latest gizmos and gadgets, check out local art gallery openings, see live music, travel and shop. Still, there is so much culture in L.A. that I can’t possibly tap into all of it. It’s hard to imagine that it’s been almost ten years since the toy program started at Otis. I am eternally grateful for the knowledge and wisdom that my professors shared with me.

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What MaHered about WHAT MATTERS? By Terry Lee Stone and N Silas Munro

Florian Pfeffer Stone: For me, Raby’s abstract product designs are all about the Stone: According to Pfeffer, the theme of WHAT MATTERS? was contradictory nature of human beings and the potentially scary results instantly approved by all of the symposium organizers. They instinctive- of tampering with nature through technology. www.dunneandraby.co.uk ly knew this was the right topic at the right time. A combination of fear R.E. Somol and hope, coupled with ever-evolving issues brought on by technology, Munro: Somol’s ironic presentation of the practice of architecture has made this theme the central question in many designers’ minds. At looked at life versus lifestyle, genetic versus generic factors, and a series whatever career stage they are at, and in whatever arena or media they by Terry Lee Stone, Communication Arts faculty member, of processes versus found cartoons as a metaphor for architecture itself. work, designers are asking themselves, their clients, their community, and N Silas Munro, MFA candidate in Graphic Design at CalArts He observed that what matters in architecture has been an obsession and the world “What Matters?” It was exciting to explore this volatile with an idea of difference. Somol contrasted the “cool architecture” of subject in a public arena, especially since there is clearly not one architects like Rem Koolhaas in his Seattle Public Library with the “hot What answer to the question. architecture” of geometric-obsessed practitioners like Peter Eisenman. Laurie Haycock Makela Overall, I thought that he presented fresh notions, but his arguments Stone: Haycock Makela has long been a pioneer in the intersection got a bit muddled in over-theoretic language. of graphic design and digital media. It was her job at WHAT MATTERS? Elliot Earls to open the symposium and set the tone. The note she chose was a Munro: Earls’ audio/video performance illuminated his concept of pretty gloomy one. She seemed part Delphic Oracle, part Madwoman of “design as a post-disciplinary practice.” His advice to keep “analytical Chaillot as she circled through a poetic reading of Paul Auster, tales of thesis second, and make work first” was affecting. I liked that he posed MaHers? living in Sweden, and personal revelations about what life is like after questions rather than providing answers in the interwoven films, musi- having suffered a brain aneurism, to ultimately tell us: “‘What Matters?’ cal performances, and (at times uncomfortably hilarious) spoken word. is relevant. Relevance is contextual. Context changes and changes.” Stone: Although I found Earls’ refreshingly authentic, I didn’t In March, Otis hosted WHAT MATTERS?, the first triennial symposium produced in collabo- Anne Burdick On New Modes of Literacy appreciate this presentation at all. It felt like “The Emperor’s New ration with the :OUTPUT Foundation, based in Amsterdam. Over the course of two days, Munro: Anne Burdick presented several projects including “Writing Clothes” to me. I figure that if you come to L.A. and intend to show us professionals, academics, and students of graphic, product, and environmental design heard Machines,” an interactive site for a book by N. Katherine Hayles that films and music, you better bring your best game. Earls’ development acts as a kind of index of the theoretical terrain of Hayles’ text. Next and exploitation of his own mythical persona was tiresome. Sorry. lectures presented by internationally recognized designers. was “Die Fackel,” an online dictionary for Karl Kraus’ literary works that On the other hand, isn’t it amazing that technology makes this stuff features an incredibly elaborate xml schema and is a rich source for possible for an individual to do? The presentations explored the impact of design Fiona Raby - Partner at Dunne & Raby, and linguistic scholars. Finally, she showed “The New Ecology of Things,” Munro: Earls recently came to CalArts for another presentation on a changing world and vice versa. In addition, the former Senior Research Fellow at the Royal College a trans-media publication project done with Art Center students, based that focused more on his new body of work, “Bull and Wounded symposium featured FiFFteen, an exhibition of FontFont of Art; London on science fiction author Bruce Sterling’s book. Horse,” and his way of teaching at Cranbrook. More controversy Stone: What’s interesting is that Burdick is looking at the very ensued. I think you’ve just got to decide for yourself. experimental typography. Following the symposium, Florian Pfeffer - Partner at jung und pfeffer, and nature of what precisely is a publication in this age of ubiquitous com- www.theapolloprogram.com/ the presenters judged :OUTPUT, the largest international Professor of Visual Communication at Hochschule puting. She’s taken the random access qualities of the web and pushed The bottom line on WHAT MATTERS? competition for students of visual communication für Gestaltung; Karlsruhe, Germany. Creator and Director them, shaping them into a whole new way of experiencing content, the Munro: It was great to see visions of the cutting edge and the (extended to include architecture and product design of the :OUTPUT Foundation; Amsterdam/Bremen act of absorbing information, and the use of the Web itself. Her active, future of the practice from a broad range of design practitioners and student work). The entire event was organized by Kali R.E. Somol - Professor in the Knowlton School complex databases create interplay in a dynamic environment. These educators. It was intellectually stimulating during the presentations Nikitas, Chair of Communication Arts; Steve McAdam, of Architecture at Ohio State University, and are definitely not your father’s Web sites. and in the conversations between (and the spread was great, too). Munro: Yes, but she’s also striving for an old fashioned editorial Chair of Interactive Product Design; and Linda Pollari, Visiting Professor at Princeton University Stone: It was a mind-bending experience for me. The symposium voice. Her question: “When do design choices become editorial Chair of Architecture/Landscape/Interiors. Reneé Veenhuizen - Partner with Tejo Remy, allowed us to step away from the day-to-day practice of design, and choices?” really made me think. www.electronicbookreview.com imagine what it could be in the future. It’s great to have this high level The speakers offered a look at some of the provoca- and Professor at Utrecht School of Art, Utrecht Fiona Raby of discourse happening at Otis. tive ideas that they explore in both their academic and Elliot Earls - Designer in Residence, and Head of Stone: What was interesting to me was Raby’s exploration of the professional lives. 2D Design at Cranbrook Academy of Art; Bloomfield role of design in the debate about the future of human interaction with Laurie Haycock Makela - Graphic design and digital Hills, Michigan biotechnology. Her firm’s products, especially the “Hide Away” furni- media designer, and former Director of the Design Volker Albus - Author and curator, Professor of ture that provides fearful people a place to hide while at home, had a Department at Walker Art Center; now living and practic- Product Design at Hochschule für Gestaltung; Karlsruhe terrible beauty. ing in Stockholm Erik Speikerman - Founder of MetaDesign and Munro: Her firm’s work is deeply human, and at times, irrational. Neil Denari - Professor in Residence in the FontFont, San Francisco/Berlin Viewing it is a complicated pleasure. In the “Bone Ring” project, her Architecture and Urban Design Department at UCLA and Royal Academy of Art students explored the idea of commitment, as in marriage, to create a symbol for two people’s lasting union. The prod- principal of NMDA; Los Angeles uct they developed was a ring grown from the cloned bone of each Anne Burdick - Acting Chair of the Graduate Media lover (e.g. extracted wisdom teeth) or a tree implanted with their DNA. Design Program at Art Center College of Design, and Stuff like this is a pretty sensational idea of what the discipline of prod- Design Editor of Electronic Book Review; Los Angeles uct design may become in the future.

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Groundbreaking Report shows Artists and Designers Drive the Largest Segment of Jobs and Sales Revenues in the Region L.A.’s Creative Economy by Susan Martin

Otis commissioned the Report on the Creative Economy of the Los Angeles Region, which was released on March 1 to approximately 300 regional education, cultural, business, and political leaders. Prepared by Jack Kyser, Chief Economist of the Los Angeles Economic Development Corporation (laedc), the key findings are stunning, including one million direct and indirect jobs generated by the creative industries in Los Angeles and Orange counties. Far from being a “supporting player” in the L.A. economy, the creative industries lead the pack, surpassing the two longtime “traditional” leaders: international trade and tourism. The Report puts real numbers to creativity. In 2005, the creative economy accounted for 894,000 direct and indirect jobs in Los Angeles County alone and generated $140.5 billion in sales/receipts and more than $3.4 billion in state tax revenues. The data also has far-reaching public policy and business implications. Centered on new ideas and new approaches, it is clear that education is critical to maintaining competitive- ness in a global economy increasingly built on innovation, sustainability, and good design. The Report offers a new, more accurate and useful economic definition for creative industries: Architecture and Interior Design; Art Galleries; Communication Arts; Digital Media; Entertainment; Fashion; Furniture and Accessories; Product and Industrial Design; Toys; and Visual and Performing Arts Providers (theater and dance companies; museums; performing arts companies). The Report also offers a deeper understanding of how creative industries form the hub around which the very fiber of the Los Angeles regional economy revolves. Until now, the perception has been that the creative industries’ strength and numbers lie in “Hollywood.” The Report indicates that the entertainment industry accounts for only 37.5% of the creative jobs. Another key finding is that Los Angeles leads New York as a creative economic center, with the advantage coming from fashion, toys, furniture, and the entertain- ment industries. Los Angeles County was first in the number of creative establishments with 27,121 in 2005, 13% higher than the 23,934 establishments in the New York Primary Metropolitan Area. In employment, Los Angeles was comfortably ahead with 346,000 creative workers, about 47% above such jobs in the A ShoB liD of Products “Born” in L.A. New York area. Other key findings, by industry segment, indicate the total economic impact of the creative economy: Los Angeles’ creative economy has produced trends and ideas that have reached to Tokyo, London, and beyond: Entertainment Architecture Audio-animatronic figures Bugs Bunny The electric guitar He-Man and Masters of (including film, TV, (including interior, and music) 422,300 jobs $152.7 billion landscape design) 34,300 jobs $14 billion The modern bathing suit The new VW “Beetle” The multi-channel the Universe $$$$$$$$ $$$ The fortune cookie The Mazda “Miata” recording process Bratz Dolls SR-71 (high-altitude super Talking movies Arc welding of natural All Disney characters that Fashion/Accessories Digital Media (including game design) sonic reconnaissance “Snow White & the Seven gas pipelines have become dolls, 265,200 jobs $72.3 billion 33,200 jobs $14.6 billion $$$$$ $$$ plane) Dwarfs,” the first feature The skateboard (Venice) figurines, etc. The F-117, the first “stealth” length cartoon The Cobb salad The Plastic Frisbee Furniture/ Toys Home Furnishings fighter Barbie The Hula Hoop The Eames Lounge Chair 108,200 jobs $25.4 billion 21,400 jobs $9.9 billion The B-2 “stealth” bomber The first commercially The strapless bra and Ottoman $$$$ $$

(a flying wing) successful TV station—now Shoulder pads (Adrian for The Aeron Chair Communication Arts Art Galleries The Douglas DC-3, the first KTLA, Channel 5 Joan Crawford) The “magic” 8-ball (including advertising, graphic design, and display) 58,000 jobs $8.2 billion 2,500 jobs $463.2 million commercially viable Valet parking Rhinestone and spangled The modern theme park— $$ $ passenger plane Tooth-whitening toothpaste western wear Disneyland (the work of Visual/Performing Product/ The Mars Exploration Modern make-up (Max Nudies John Hench (’28), pioneer Arts Providers Industrial Design Rovers: Spirit & Opportunity Factor’s pancake make-up) Bare midriffs of Disney Imagineering 54,000 jobs $20.4 billion 1,800 jobs $299 million $$$$$ $ The Space Shuttle Implantable collamer Neoprene as sportswear See’s Candy (there was a The Internet eye lenses (evolved into surf wear) Mary See, who moved to The domain name conven- Epogen/Neuprogen (biotech The sarong (designed by Los Angeles from Canada) However, even these numbers don’t tell the full picture, as large numbers of people working in the creative tion for the Internet blockbuster drugs) Edith Head for Dorothy The modern T-shirt industries are self-employed independent artists, writers, designers, and performers. Cross-interleaved Reed- “Dancing” fountains Lamour) (for USC in 1932) Solomon coding Celebrity PR The “stylist” Otis thanks Merrill Lynch, the California Community Foundation, the James Irvine Foundation, (CD error correcting) Hot Wheels and the Department of Cultural Affairs of L.A. for their support of this project.

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ACT Lessons Commencement 2007 L.A. Culture Make Led by Liberal Arts and Sciences faculty Artists, Community and Teaching member Jori Finkel, students looked at Los Angeles and conducted research and interviews Graduates its First Class on topics of interest, including architecture, fine MiEkes art, fashion and design. Working with graphic design students, they identified their audience Mayuka Thais Nagasawa and her painting of Billy Fred Guzman, Martini Birds and journalistic style for Squint. Experiencing the By Jerri Allyn, Fine Arts faculty member On May 12, 255 students received BFA and wouldn’t be here today, standing in front of you, MFA degrees. Honorary degree recipient if I’d just done everything right since I gradu- real world back-and-forth of writing and design, Cheech Marin and alumnus guest speaker ated from Otis. the writers collaborated with the designers to edit In July 2004, I became Director of a new program in Fine Arts known as ACT: work with young ones, through children’s book illustration or children’s Khoi Vinh (’93) spoke to the graduates. Vinh, Which is to say that I’ve made a ton of mis- their content during the design phase. The full Artists, Community and Teaching. I started recruiting students by asking television (which she did in Japan), along with painting. currently design director for www.nytimes.com, takes. I graduated in 1993, so in a sense, you can publication (pdf) is posted at www.otis.edu/squint. why they were interested in teaching. I wondered how many might tell While Mayuka has a history of serving various communities, she did not advised the new alumni to launch a rich think of this moment as the culmination of me they wanted to minor in art education as a back-up to being an artist, define herself as an “activist” until she met Billy, the sole surviving elephant Design by Brooklyn Brown (’07, Communication Arts) and satisfying life by taking risks and learning fourteen years of failure. Let me explain what I but found myself incredibly moved to discover that they all had a story at the L.A. Zoo, during an animal painting course there. His isolation and with Communication Arts Faculty Advisor Erin Hauber from making mistakes. mean by that…. about teachers in their lives who made such a profound impact that they, unhappiness have resulted in a neurosis that causes him to rock back and These are just some of the failures of judg- too, were inspired to teach—or work in a variety of educational pursuits. forth constantly. Mayuka spent a year painting portraits of Billy, and sold (honorary degree citation for Cheech Marin ) ment that I’ve made over the years. When I look buttons of her portraits to support his release, as part of a long-standing Your creative work as an actor, director, back at them, I’m kind of astounded by my Fred Guzman (’07) campaign to free the elephant. Through funders she met at an Otis scholar- writer, musician, and comedian are legendary naiveté, or my bullheadedness, or my cowardice, Fred, voted as commencement senior class marshal for his community- ship-winners luncheon who were impressed with her orating skills, she was and celebrated throughout the world. Wide- or my general inability to see the forest for the mindedness, created his own version of a the 2007 yearbook in a unique invited to participate as the “artist activist” on an animal rights panel at the ranging and sometimes provocative in nature, trees. But I also realize that it was the mistakes comic style. After graduating, he returned to the Imperial Valley to apply for Reagan Library. This event resulted in a $100,000 donation, which has your sustained body of work has enriched and that got me where I am today, just as much as it an art teacher position at a continuing education high school. “Because of launched a campaign to build a ranch for Billy and others like him. She has entertained millions. was that effort at making good, sound decisions. ACT, I go out of my way …(to do) …group projects that facilitate creativity.” been accepted to graduate school in animation, which will allow her to Students, educators, and community leaders Mistakes teach you lessons that you might not Art projects that relate to students’ lives have been instrumental in re- combine interests in art, education, book illustration, and children’s televi- have found leadership and inspiration in your have learned otherwise. Mistakes lead to oppor- connecting alienated teens to school and assisting with the development of sion. The career that will unfold for her will undoubtedly be informed by humanitarian work and your continued support tunities that you might not have ever encoun- life goals. Along with team-building through drawing and painting classes, her social commitment as a world citizen and her critical eye to the equality of the arts. Your important collection of art, tered, and they give a shape to your life that is Fred will introduce “The Art of Comics,” contemporary art lessons he and tolerance of all creatures in our increasingly interconnected world. which has been widely exhibited and published, richer and more satisfying than any premedi- developed during ACT. has helped promote the voice of diversity in our Janice Yu (’07) tated plan could determine. Abby Cosio (’07) culture. The dissemination of the collection has In a moment of grace during her junior year, Janice Yu developed a highly It was my willingness to go out on a limb, to Abigail Cosio, a Sculpture/New Genres major who is also a musician, has enabled you to share your life’s passion and con- imaginative conceptual art project about community gardens. It included do things that I wasn’t sure about, to follow my created inventive sculptures of instruments out of all kinds of soft and hard tribute to the growing awareness of Chicano art an “artist’s book” of instructions on growing one’s own food, as well as instincts or to make rash decisions, right or materials. “The coolest thing about the ACT Program is that is showed me and cultural identity. a bartering market where community members could trade services and wrong — and to have those decisions FAIL that how connected the art community really is, through internships. Some food with one another. This marked her transition, accompanied by a well- allowed me to get to a point where, now, I feel as might not even consider art education part of the art community, but it has (excerpts from speech by Khoi Vinh. Complete text at reasoned argument, from a career in the arts that she perceived as too if finally, I’m doing the work that I was really broken open the art world for me.” In her senior internship with the Los www.otis.edu/vinh) self-serving, to a career in social justice. meant to do. Angeles Chamber Orchestra (LACO), she developed art lessons that relate to The sequence of integrated courses that Janice has traveled through When I look back at my career at Otis, I the chamber music concerts for four elementary schools in different neigh- gave her a broad view of creativity and education, incorporating a study of think I was a good student, but I probably wasn’t borhoods. She has been invited to apply for a museum educator position at religions in graduate school through an anthropological lens. One possible a spectacular student. I never would have the Getty Museum as a result of her successful internship. Abby also plans future she envisions is that of curriculum designer in developing countries. dreamed that I would have been invited here to to continue touring with her band. She imagines drawing on the arts and indigenous spiritual beliefs as an speak to you today, especially when I remember Mayuka Thais Nagasawa (’07) empowering strategy for self-expression, and implementing innovative, stu- all the extremely talented people with whom I Mayuka Nagasawa came to Otis with three years of teaching at an interna- dent-centered education strategies for personal liberation. “My interest in graduated at the time. (So that’s a little bit of tional pre-school in Japan under her belt, wanting to be a painter and a the ACT Program is my belief in education. It’s a very important and funda- encouragement for those of you out there who teacher. She has worked consistently as a teaching assistant, challenging mental part of self-liberation. Figuring out what is really right for you is are as unspectacular as I was—there’s hope!) herself to work with different age groups, but harboring a nagging desire to something that everyone deserves.” When I think about what got me here though, I can say with some certainty that I know at least part of the answer. That is: I know that I President Hoi, Cheech Marin and Khoi Vinh

OMAG 26 27 OMAG COLLEGE NEWS Student Competition Winners

AdveBising Design Communication Arts ’07 graduate Jesse Kersey won the Heineken USA/American Advertising Federation Public Service Advertising Competition, a national program for advertising students that addresses underage drinking prevention by developing a public service announcement advertising campaign for print, radio and Internet. Her winning campaign was based on traditional games— word search, mazes and trivia—that reinforce how judgment and cognitive skills are impaired by alcohol. Campaign elements included tear-off cards, coasters, online pop-up ads and a radio public service announcement. Student Arlene Fontanilla won an Elaine Goldsmith: honorable mention. A ConEnt Presence

Elaine Goldsmith, Trustee, (left), with model and student award winner at the annual Scholarship Benefit by George Wolfe

More than 900 guests attended the annual Scholarship Benefit that. And then Bob brought in Dick Baker [Ocean Pacific], who’s also Fashion Show at the Beverly Hilton Hotel in early May, raising over become very involved. Same with Susan Crank [Lunada Bay], who’s $1 million for student aid. Recipients of the creative vision award now on the Board and helping the school so much.” were Paul Fitzpatrick and Jaque Hall of Macy’s. This year marked “[The honorees] often end up helping us. And anything that the show’s 25th anniversary, prompting Board of Trustees Chair helps the kids is what I care about. Once these fantastic people get Emerita Elaine Goldsmith to reflect on its history. on the Board, they see what goes on and want to help more and Twenty-five years ago, Elaine Goldsmith, who joined Otis’ Board do what’s best for the school. Their hearts just really go out to the of Trustees as a young sculptor, joined forces with Founding students. It’s a lovely circle.” Chair of Fashion Design Rosemary Brantley to create the first Otis A Benefit Committee (led by Lisa Janian and Joyce Arad) now Architecture/ [Scholarship] Fashion Show, thus beginning a fruitful professional oversees the event. But as Elaine humbly sums up her original work- relationship spanning more than two decades. ing relationship: “Rose still does the fashion show. I can’t rave about Landscape/Interiors As Mrs. Goldsmith recalls, “Rose and I sold tickets for that her enough; no one has a more buoyant personality. She’s brilliant, a Seniors Matt Gilio-Tenan and Eunice Yoon won second place and first show [1982] at the new Hard Rock Café. The school made the real pied piper. I work with the Committee — along with the Board — a $6,000 scholarship in the 2007 Los Angeles AIA Interior runway out of tables with red checked cloths to match the Café. on the fundraising. I’m kind of there as a backbone consultant.” Committee’s “1:2” Student Competition. Competing against teams I think we charged about $100, and had about 100 people; we had Personal philanthropy aside, “consultant” is certainly an under- of students from eleven other schools, they created an interior box suppers, and it was a great show.” statement for Mrs. Goldsmith’s stalwart, tireless dedication. In fact, design for a 17,000 square-foot truck stop in a six-hour charrette. The following year, the fashion show was at The Palace, a she is yet to miss a single year of the fashion show. Then again, who A/L/I students also won three of five prizes awarded in Hollywood nightclub, and catered by Wolfgang Puck — one of his could stand to miss out? the 2006 “Launch Your Career in Exhibit Design” International first catering jobs. After that, the venues generally shifted to hotels, “Each year has just been so fantastic,” beams Elaine. “And at the Competition hosted by the Exhibit Designers and Producers with The Beverly Hilton being in the schedule for the last 22 years. end of each event, we always say ‘Oh, my goodness. What can we Association. Gary Garcia, Kevin Lee, and Jesus Aguilar won 1st, 3rd, “In the beginning [of the fashion shows],” says Mrs. Goldsmith, possibly do to equal it?!’ Last year the mentor Cirque du Soleil and 5th prizes respectively, and will receive tuition scholarships. “Helen Rose was wonderful for us. She showed a lot of her clothes, helped make it a truly memorable year, but each year gets better and They designed an exposition booth for the debut of a hand-held as did Jean Louis and James Galanos. We did mostly designers at better. This year, of course, we’ve got Bob Mackie again, who never gaming device. first; later, we tended toward companies — one of the first being disappoints. Each time he’s been involved, it’s been very dramatic, Georges Marciano of GUESS?. He underwrote the whole dinner and and there have been beautiful clothes. One year, he featured each of took a few tables. And there were others like Nike, Mossimo, the twelve months, and Wolfgang Puck’s wife, Barbara, bought the Nordstrom, Mattel and Rampage. Fred Hayman was honored, but month of April, which was gorgeous: a picket fence with flowers, has also been a generous friend of the school for some time. Michael which she ended up wearing to Spago.” Gould has been a big friend — he was head of Bloomingdale’s here, And as for the future of the fashion show, say, 25 or 50 and after he was honored, he went to his clients and they helped us years from now? “Well I’m sure it’ll be the current fashion, very raise money. Dan Romanelli brought in his whole Warner Brothers au courant, and I assume by then we’ll have people underwriting team and did a great cocktail party. When Bob McKnight everything so there isn’t a student in the school who can't get a [Quiksilver] was an honoree, lots of people were there. Everyone scholarship to go to Otis.” loved Bob; it was a rousing evening — he came on our Board after

EPDA Competition entry by Jesus Aguilar

OMAG 28 29 OMAG CLASS NOTES EXHIBITIONS

Stuart Arends (’81, Fine Arts)

Sonia Boyajian (’01, Fashion Design) Scott Zaragoza (’03, Fine Arts) Zdenek Balcarek (’98, Fine Arts)

photos courtesy of LA Louver

Camille Rose Garcia Kemper Museum of Contemporary Scott Zaragoza Diana Miao Mario Ybarra (’92, Fine Arts) Art, Kansas City, MO; “Twilight (’03, Fine Arts) (’97 Env. Arts - now A/L/I) (’99, Fine Arts) “Doomcave Daydreams,” Merry Blush,” LA Louver Gallery, Venice “Detached,” The SaLon Gallery, Color and Lighting Supervisor “Reflecting the Street”, Los Angeles Times Karnowsky Gallery, L.A.; “Tragic www.lalouver.com London www.salongallery.co.uk (Visual Effects): CIS, Hollywood, for (Hugh Hart), September 3, 2006.; “First Kingdom,” San Jose Museum of Art The Fast and the Furious: Tokyo Drift, Take: Mario Ybarra Jr.” (Jens Hoffman), www.sanjosemuseumofart.org Zdenek Robert Balcarek Entertainers X-Men: The Last Stand, and Poseidon Artforum, January 2007. (’98, Fine Arts) Anita McLaughlin Exhibitions: California Biennial 2006, Orange County Museum of Art, Alex Donis COMA Gallery, California State (’71, MFA Fine Arts) Bao Tranchi Top: Eduardo Sarabia, A Thin Line Between (’94, MFA Fine Arts) University, L.A. Senior Artist: Buena Vista Games (’99, Fashion Design) Newport Beach; “Bring me the head of…, ” Love and Hate, installation, 2007 “Pas de Deux,” Sherry Frumkin Costume Designer: Journey from the Anna Helwing Gallery. L.A. Rogue Wave 2007 Bottom (L - R): Timothy Tompkins, Eagle; Sandeep Mukherjee, Burnt Sky Gallery, Santa Monica Joe Sola Sandow Birk Fall (Imaginasian Pictures); Prince’s www.annahelwing.com Of the twelve emerging L.A. artists selected for this annual www.frumkingallery.com (’99, Fine Arts) (’89, Fine Arts) 2007 Superbowl appearance, “3’s,” p|m Gallery, Toronto, Dante’s Inferno, puppet-animated and Kelly Clarkson concert tours. Robert Dobbie (aka Rob Dob) exhibition, three are Otis alumni: Sandeep Mukherjee (’96), Trine Wejp-Olsen Canada; “let’s go do some watercol- film with voices by Dermot Included in Smithsonian (’01, Communication Arts) Bob Dob: Eduardo Sarabia (’99), and Timothy Tompkins (’03) (’94, Fine Arts) or painting,” Bespoke Gallery, N.Y. Mulroney and James Cromwell, exhibition featuring Vietnamese- Painting Collection Volume One (Murphy), LA Louver Gallery, Venice, CA, June – September 2007 Nancy Margolis Gallery, N.Y. www.pmgallery.ca/ screened at Silverlake and Newport American designers 2006 www.murphydesign.com www.nancymargolisgallery.com Beach Film Festivals www.journeyfromthefall.com Robert Rainey www.dantefilm.com Tofer Chin Yong Sin (’03, Digital Media) Chris Payne (’02, Fine Arts) (’95, Fine Arts) “Two Way,” Chicago Cultural Joe Strasser (’02, Digital Media) Flaunt magazine, cover and four-page “This is the Same but Different,” Center, Chicago, IL (’95 Communication Arts) Digital Effects Supervisor: Hydraulx, spread, November 2006 Andrew Shire Gallery, L.A. www.robertrainey.com Look Development Lead: SONY Santa Monica. Supervised a team www.andrewshiregallery.com for Matrix 2 & 3, The Polar Express, of 13 people for Frank Miller’s 300 Blaine Fontana (Hogg) Timothy Tompkins Open Season, and Beowulf (Look and Fantastic 4 2 (’02, Communication Arts) Multiple VanAge Points: Southern Gajin Fujita (’03, Fine Arts) Development = realizing 2D concept “Blaine Fontana’s Vision Quest”, (’97, Fine Arts) “Leftovers,” Studio La Citta, art in the 3D computer world) In Print Juxtapoz magazine cover story, “Zephyr: Paintings by Gajin Fujita,” Verona, Italy www.studiolacitta.it Kim Gordon August 2006; “Sedimental Promises” California Women ABiDs 1980-2006 (Upper Playground), 2006 (’77, Fine Arts) Otis women artists were well represented in “Multiple Vantage Points: Southern California Member of indie band “Sonic Women Artists 1980-2006,” curated by Dextra Frankel, at the LA Municipal Gallery, Barnsdall Youth,” artist and curator. Author: In Memoriam Park, February 16-April 15. It included work by alumnae Alison Saar (’81 MFA) Carrie Whitney Kim Gordon: Chronicles Vol. I and Anthony Kwan (’96 MFA), Camille Rose Garcia (’92), Pattsi Valdez (’85 Fine Arts) and Sarah Perry (’83) Vol. II (Nieves), December 2006 (’95, Communication Arts) lost his battle with lung cancer on December 22, along with work by faculty member Carole Caroompas and former faculty members Lita Steve Rachwal 2006. He is survived by his wife, Mimi, Albuquerque and Betye Saar. (’87, Communication Arts) and 6-year-old daughter, Leslie. He passed Graphic Designer of over twenty away at San Gabriel Hospital, CA, with titles including Jon and Nancy his family at his bedside. Those interested WIllkman’s Picturing Los Angeles in donating to a fund for Leslie can contact (Gibbs-Smith), 2006 Sarah Russin in the Alumni Office for more information. Kathryn Hagen (’99, Fine Arts) Fashion Design Faculty Member. Co-Editor with Parme Giuntini and Illustrator: GARB: A Fashion and Installation view with sculpture by Alison Saar, Bao Tranchi (’99, Fashion Design) (costume design, Journey from the Fall) Andrew Brandou Culture Reader (Prentice Hall), 2007 courtesy of LA Municipal Art Gallery (’90, Communication Arts)

OMAG 34 35 OMAG CLASS NOTES

This is a small sampling of recent alumni accomplishments. To keep up with Otis’ Digital Media Alumni Participants: Natasha Lee ’04, Manasi Patel ever-active alumni, and to see the fully illustrated monthly news archive, click Ashish ’06, and Levan Tkabladze ’05 on “Class Notes” at www.otis.edu/alumni. To submit news and images, contact Sarah Russin, Director of Alumni Relations at [email protected]. To receive a Jeunes Talents monthly message with a link to the most up-to-date news and Class Notes, click This year twelve young filmmakers from Southern California and New Orleans were invited to France for two weeks to seek inspiration from “Register”at www.otis.edu/alumni. It’s easy and we don’t spam you! Also, feel the regions of Alsace, Brittany and The Midi-Pyrénées. Students and free to call Sarah in the Alumni Office at 310.665.6937. Regular readers of the Ruben Ochoa (’04 Fine Arts) recent graduates were selected from four American schools: Otis College photos courtesy of Susanne Vielmetter online alumni news reconnect with old friends, and take advantage of opportuni- of Art and Design, Art Center College of Design, California Institute of Los Angeles Projects the Arts and University of New Orleans. Since their return, these young ties for professional development. If you haven’t already, we hope you will join artists have created short films, expressing their vision of the regions the Otis alumni online community! they visited. The trip was sponsored by Maison de la France USA/The French Government Tourist Office and the Cultural Services of the Mario Ybarra (’99, MFA Fine Arts) French Consulate in Los Angeles.

Entrepreneurs, Award-Winners, Sarah Coon Anthony Zepeda Cynthia Harper Andrew Brandou (’06, Fashion Design) (’73, MFA Fine Arts) (’87, Fine Arts) (’90, Communication Arts) Cool Designers, SoloiDs, Senior Assistant Designer: “Roxy "I have seen things,” ANDLAB, L.A. “Applied Landscape,” The Gallery at “As A Man Thinketh, So He Is,” Girl,” Quiksilver www.ANDLAB.com/art Penn College, Pennsylvania College Cory Helford Gallery, Culver City of Technology, Williamsport, PA EnteFiners, In Print, In Memorium Ryan Ford Stuart Arends Monica J. Brown (’06, Communication Arts) (’81, Fine Arts) Bari Kumar (’91, Fine Arts) Senior Designer: Strata, Costa Mesa “Wedges,” Bjorn Ressle Fine Arts, (’88, Communication Arts) “The Cycle and the Search,” Entrepreneurs Sonia Boyajian Cool Designers David Sams Font design reached bestseller status N.Y. www.ressleart.com “In Absentia,” Jehangir K.S. African-American Cultural Center, Eunice (Jo) Feller (’01, Fashion Design) Angie Furlong (’98, Communication Arts) on MyFont and will be released Nicholson Gallery of Modern Arts, U.I.C., Chicago, IL (’90, Fine Arts) Jewelry designer (’83, Fashion Design) Lead Designer: Graphic design soon with Veer. Alison Saar National Centre for the Performing www.monicajbrown.womanmade.net Chef/Owner: Bread & Chocolate www.soniabstyle.com Design Director: Morphine team, iTunes Store www.myfonts.com/fonts/ryanford/ (’81, MFA Fine Arts) Arts, Mumbai, India Bakery Café, Newton, MA. Generation, L.A. fonce-sans-pro/www.liquisoft.com/ “Duped: Prints by Alison Saar,” www.barikumar.com/2006/inabsentia Corrie Gregory www.breadnchocolate.com Allison Whitney Henry Escoto portfolio.html Delaware Center for Contemporary (’91, Fine Arts) (’04, Fine Arts) Silas Hickey (’99, Communication Arts) Art, Wilmington, DE “Tales from the Root Cellar,” Amber Noland Owner: Sixteen:One gallery, (’91, Communication Arts) Senior Information Architect: Jammie Fung www.thedcca.org/saar.html Metro Gallery, L.A. (’90, Fine Arts) Santa Monica www.16to1.com Filmmaker and Producer: Happy Yahoo!, Santa Monica (’06, Communication Arts) Co-founder: Artslant Web site and Ending Productions, Toyko, Japan. Content designer for TV and Sarah Perry online community Award-Winners www.happy-ending.tv Mikki Tam Movies: iTunes, Cupertino, CA (’83, Fine Arts) www.artslant.com Gary Macheel (’99, Fine Arts) “The Bird and Bone Art of Joyce (’81, MFA Fine Arts) Justin Reed Designer: TPG Architecture, N.Y., Traci Larson Cutler-Shaw and Sarah Perry,” Jennifer Eckstein Sound Editor: "Men in Trees” (’96, Env. Arts - now A/L/I) working on graphic design, (’06, Communication Arts) USC Fisher Gallery, L.A. (’91, Fine Arts) (ABC Thursday night), starring Project Manager and Designer: St. tradeshow/exhibition design, archi- Design and Production Assistant: www.fishergallery.org Owner: Milo Gallery, L.A. Anne Heche. Motion Picture Louis architecture firm, working on tectural design and advertising and April Greiman/Made in Space, L.A. www.milogallery.net Sound Editor award for Stephen GUESS? flagship stores in Toronto retail branding projects. Owner: www.madeinspace.la Patssi Valdez Spielberg’s Into the West and Vancover, and Boogaloo, a “Yutopi” design business (’85, Fine Arts) Keryn (Glendenning) Dizon Cuban/Creole restaurant, St. Louis www.tpgarchitecture.com Marcus LeBlanc “Turn the Tables,” Patricia Correia (’95, Fashion Design) Ruben Ochoa www.boogaloorestaurant.com (’06, Fashion Design) Gallery, Santa Monica; “The Owner/Designer: “Elijah,” N.Y. (’97, Fine Arts) Mark Caneso Assistant Designer: John Varvatos, Enchanted Worlds of Patssi Valdez www.elijahfemme.com Rockefeller Fellowship: New Media, Kassie Maurer (’04, Communication Arts) N.Y. and ‘Majgu’”, Carlotta’s Passion 2006. Creative Capital Projects: (’97, Fashion Design) FontFont designer. Three upcoming Fine Art, L.A. Eric Stevens “Extracted” Billboard Project (La Snowsports Product Developer: typefaces to be published and Soloists http://carlottaspassion.com (’97, Communication Arts) Cienega Blvd. between Venice and The North Face, a division of VF distributed by FSI International Stanley C. Wilson Owner: Vintage Chrome Tours, Washington) and Public Project Outdoor, Inc., San Leandro, CA (’71, MFA Fine Arts) Cindy Kolodziejski Sonoma, CA (wine country (Eastbound on the 10 Freeway) Maria Troconis “Stanley C. Wilson: Retrospective (’86, Fine Arts) tours in classic cars) www.laxart.org Henry Steingieser (’04, Communication Arts) 1973-2007,” W. Keith and Janet “Reversal of Fountain,” www.vintagechrometours.com (’97, Fine Arts) Senior Designer: mun2 (NBC Kellogg University Art Gallery, Cal Frank Lloyd Gallery, Santa Monica Manasi (Patel) Ashish Co-founder: Backward Heroes Universal) www.holamun2.com Poly, Pomona www.franklloyd.com Koh Byoung Ok (’06, Digital Media) Recent Projects: www.csupomona.edu/~kellogg_gallery (’98, Fine Arts) Film Anuttara selected for KCET’s www.number23 movie.com and Andrea Ehret Lawrence Gipe Owner: S1F Gallery, L.A. student film competition www.battlestargalacticadvd.com/game (’05, Toy Design) (’87, MFA Fine Arts) (MacArthur Park). “Final Cut,” www.kcet.org/finecut Product Designer, Design & Develop- “Zirkus und Varieté,” Hunsaker www.s1fgallery.com (Episode 4) ment, Girls Toys, Hasbro, RI. “Littlest Schlesinger Gallery, Santa Monica Pet Shop” toys at Toys'R'Us, Target, Limited Too, WalMart, Kmart, Kay Mark Caneso (’04, Communication Arts) Bee Toys OMAG 32 33 OMAG COLLEGE NEWS

More on Wikis Visiting Artists and Designers 2006-07 and iTunes The Library’s Faculty Teaching and Learning Center has Otis Speaks Public Lectures Yuko Shimizu, illustrator Nancy Popps, video artist spearheaded two recent initiatives in applying new technologies Yamandú Canosa, artist John Stein, marketing/ Alison Saar (’81, MFA), sculptor to teaching: hyperlink wikis and iTunes podcasts. At its annual Judy Chicago, artist advertising consultant Alan Sekula, photographer/ Roger Gastman, author John Sueda, graphic designer writer/critic conference in July, The New Media Consortium recognized these Guillermo Gómez-Peña, Davey Whitcraft, Bruce Yonemoto (’79), achievements by presenting Otis with a Center of Excellence performance artist graphic designer video artist Award for “demonstrated excellence and outstanding achieve- Nico Israel, theorist Fine Arts Graduate Studies: Writing ment in the application of technology to learning or creative Charles Kriel, DVJ Edgar Arceneaux, Brian Blanchfield, poet expression.” At the end of May, the iTunes Store added a new Suzanne Lacy, public artist installation artist Ann Cefola, author/translator feature, iTunesU, prominently featuring podcasts on color and Legacy Project, photographers Jessica Bronson, video artist Jeff Clark, poet design created by faculty member Christian Mounger. Apple Dalia Levin, museum director Yamandú Canosa, artist Ben Ehrenreich, journalist/critic Guy Maddin, filmmaker Carter, artist Lynn Emanuel, poet reported that viewership to iTunes U skyrocketed from 38 to Yvonne Rainer, artist Sean Duffy, artist Andrew Sean Greer, author 5,001 views in its first week on line. Julien Robson, curator Lauri Firstenberg, curator Paul La Farge, novelist Faculty member Guy Bennett’s “Hyperliterature” course, Chicago & Lacy Steve Roden, artist Andrea Fraser, Suzanne Jill Levine, author focused on electronic literary works featuring hypertext and/or Alexis Smith, artist performance artist Michael Lowenthal, author Speaking to a sold-out crowd, Chair of the new Graduate Studies: Public patriarchy with matriarchy, but we didn’t mind being given a chance since the hypermedia technologies, was the perfect subject for a wiki- Smadar Sheffi, critic Charles Gaines, artist Carol Maier, author Practice program Suzanne Lacy and artist Judy Chicago continued a student/ boys had messed things up pretty badly,” Chicago posited. based class. Susan Silton, artist Alexandra Grant, John McManus, author installation artist “With a technology grant from the Library’s new Teaching teacher conversation that began in 1970 at Fresno State. As Chicago characterized Both artists spoke of their projects in terms of the responsibility to share Cindy Smith, artist Maggie Nelson, author Katie Grinnan, sculptor it, “Hope and change were in the air” when she moved from L.A., after receiving their gifts in order to give voice to feelings and experiences of people around subRosa, feminist art practice Claudia Rankine, poet/editor and Learning Center, supported by the Fletcher Jones Emilie Halpern, artist her graduate degree in fine arts from UCLA, to start the Feminist Art Program. Her them who lack a platform to speak and be heard. Chicago sees her “Dinner Party” Joan Tanner, artist Elizabeth Robinson, poet Foundation, I presented the wiki project to my students on the Michelle Jager, artist Hélène Sanguinetti, poet first day of class. I told them that they could contribute as much goal was to reunite her impulses as a woman with a professional art practice by in the continuum of work that seeks to expand the role of artists to create Architecture/Landscape/ Soo Kim, photographer Aaron Shurin, poet/essayist helping young women reconnect to their own femininity and create a new kind of different kinds of art. Lacy’s work uses the city as a frame, transforming public Interiors Alice Konitz, installation artist or as little as they liked to any of a number of pages, provided Steven Ehrlich, architect Paul Vangelisti, poet/ they reached the required word count. For the most part students art-making. Lacy was a 25-year-old Psychology major who joined the Program. awareness, and equating art and life. Joey Kotting, artist translator/editor Elias Torres, architect Chicago and Lacy recounted stories of the costumed “Cheerleaders” greeting In closing, Chicago mentioned what she now sees as the error of the ’70s: Charles Kriel, DVJ Catherine Wagner, poet had no trouble inputting their information and formatting it Matthew Coolidge, Jonathan Levine, gallery owner correctly. One of the benefits of the wiki is that it does not disap- NOW President Ti-Grace Atkinson at the Fresno airport as a group of Shriners “We should have cast the dialogue on values rather than gender, and as a result environmental educator Marianne Wiggins, author Monica Mayer, artist observed; the move to Cal Arts; and the launching of feminist art practice we alienated a lot of men who could have been our friends. Moving into the future Hagy Belzberg, architect Matthew Zapruder, author pear at the end of the semester, like term papers, and the student Ann Meredith, artist through Women House and the Women’s Building in L.A. — all underscored by requires men and women working together to build a different kind of society.” “Social Change and Media” work remains online as a resource for the Otis community and Communication Arts Renaud Proch, curator (Perry Chasin, Liberal Arts and the public, and could be expanded in future courses.” Bennett dozens of performances and the wearing of work boots. Sean Adams, graphic designer Adam Putnam, artist Sciences faculty coordinator) As Lacy explained, “We developed courage as women became more power- In fall ’07, things came full circle when Lacy launched Otis’ new MFA Program in Public Philippe Apeloig, Alma Ruiz, curator concluded that the students were excited about exploring this Ed Begley, Jr., actor/activist ful. Private experience became public, used as a subject for art.” The shared goal Practice in the same Santa Monica 18th St. studio in which Chicago and hundreds of graphic designer Paul Shambroom, photographer relatively new technology, and stimulated by the opportunity to other women artists collaborated to create The Dinner Party, thirty years ago. In Lacy’s Brad Berling, graphic designer Ian Ruskin, writer/ was to build a feminist iconography, putting women at the center, as counter- Cindy Smith, artist do scholarly work collaboratively. program, graduate students will develop new strategies and approaches to artistic pro- Kathy Bleck, illustrator producer/actor representation—not to critique male art. “Our intention was not to replace Monique van Genderen, artist duction in the public realm. John Boiler, art director Jefferson Miller, Tyler Vlahovich, painter director of photography David Clayton, graphic designer Lisa Wainwright, educator Sherry Simpson, producer Sean Donahue, and artist David Leaf, writer/director and graphic designer Amir Zaki, photographer Agustin Garza, graphic designer Arlene Wszalek, coordinating Graduate Studies: Fine Arts producer Savoy Hallinan, marketing/ Inside the Designers Studio advertising creative manager Linda Bessemer, painter Ken Kragen, entertainment lawyer/activist 2007 Fashion Design Mentor Francisco Costa spoke with Fashion Design Erin Hauber, graphic designer Yamandú Canosa, artist Judy Arthur, publicity director James Jean, illustrator Tami Demaree (’03), painter Chair Rosemary Brantley about his youth in Brazil, where his family had an Vicki Beck, health Geoff Kaplan, graphic designer Mari Eastman, artist apparel business. He had dreamed of becoming a designer in America, and communication specialist Joe Leadbetter, illustrator Alex Farquharson, curator/critic Rafael Agudelo, arrived in New York in the early ’90s. Beginning with only enough money Judy Fiskin, photographer/ Harmen Leimburg, media consultant for English lessons and a few fashion classes, he embarked on a rapid jour- graphic designer videographer Rosemary Welden, Ken Gonzalez-Day, artist ney to success. His first stops in N.Y. included designing for Bill Blass, and Harmine Louwe, casting director he went on to spend five years in Paris with Oscar de la Renta and Pierre graphic designer Colin Gardner, film historian Henri Lucas, graphic designer Doug Harvey, critic/curator Balmain, and then four years with Tom Ford at Gucci before finally joining Tony Luna, consultant, Lisa Lapinski, sculptor Calvin Klein in 2003. Costa has been compared to an architect for his fine new media Tania Mouraud, video artist tailoring and precision, which result in classic lines and refined dresses in Mark Murphy, designer Kori Newkirk, installation artist geometric grids and patterns. When the Council of Fashion Designers of America (CFDA) awarded him Womenswear Designer of the Year in 2006, they cited his “skillful tailoring and attention to minutest detail on dresses Francisco Costa (rear, fourth from right), Creative Director, Calvin Klein Collection for Women, ranging from power suits to chiffon gowns.” joined Fashion Design Chair Rosemary Brantley for “Inside the Designer’s Studio,” co-sponsored by ELLE magazine at the Pacific Design Center.

OMAG 30 31 OMAG The first faculty interview in the series The ‘O’ Files, produced by the Library’s Faculty Teaching and Learning Center, includes the following quote. For the full interview, go to www.youtube.com/watch?v=e2qt5n0hdhU

“But the work that I am most proud of is my work as a professor. I think that I have affected more lives, in more ways, over a number of years, and it comes back to me in nice ways. My students have won academy awards, and shown in the best museums… Karmically, being a professor, and doing good work, and having people go out and be successful, that’s the best.”

Eden’s Edge: FiGeen L.A. ABiDs Grieger’s humor Ken Price (’57), Rebecca Morales (’86), and Liz Craft (’94) (banner above, Ballad of the Hippie, 2003, bronze and peacock feather) are represented in this exhibition, which includes a range of generations and methods of working. Organized by Gary Garrels, Chief Curator on April Fool’s Day and Director of Exhibitions and Programs. installation at Patricia Faure Gallery Hammer Museum, L.A., May 13 – September 2, 2007 www.hammer.ucla.edu/exhibitions/120/ (comments from alumni) Otis celebrated Scott Grieger, one of its most I wish I had been there to honor Scott. Most of The one thing that sticks from my classes beloved faculty members, on the occasion the stories I have about him shouldn’t be shared with Scott Grieger was his ubiquitous advice during of an exhibition of his work from 1969 to the with the public! But I will say that, whenever I could painting class: “If you keep pick'in at that thing, present at Patricia Faure Gallery in Santa make the time, I loved to drop in on Scott’s painting it’ll never heal!” He was always a positive influence Monica. Currently Painting Program Director, crits. Even at my ripe old age, I always walked away during my education at Otis, and one of a handful Greiger has mentored alumni for more than with something to think about. I especially admire of teachers that inspired me to continue. 30 years, and many of them attended this the way that Scott can find something positive John Haines (’87) to say about any piece of work. He always leads the closing reception. I remember something Scott said very well: student to a deeper approach, finding meaning that The event took place on April Fool’s Day, There are NO Art Police!!! That statement has kept Ken Price the student often never intended. underscoring the comments of Los Angeles me loose in my art all these years, and I quote River Montijo (’76), Registrar, Va. Commonwealth Univ., Doha, Qatar Times art critic Christopher Knight, whose him often. He was a great teacher. Also, my very review compared Grieger’s ability to combine Way back in the ’80s he would challenge us, first day in class, I was timid and we had a model. Rebecca Morales humor and potent social meaning to the work both in what and how we thought. He once asked He said: He’s got a penis, draw it! of comedians Mel Brooks, Carl Reiner and the class: Did a male or female make this painting? Janet Makare (formerly Sorell) (’84) Sid Caesar, all of whom “embrace unadorned Needless to say, it made everyone think. entertainment as an artistic vehicle.” Ed Engel, (’88)

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