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Prepared and printed in Li mited Edition. Each copy is numbered and registered in the name of the recipient. First Edition.

NUMBER A NO N-P R 0 FIT INS TIT UTI 0 N

THE ART CENTER SCHOOL * * THE SCHOOL

* Art is profitable when harnessed to a purpose. Modem technical art training equips the student to confidently take his place in A SUMMARY today's professional world of business. industry and commerce. • Moore prepares a Steinway layout • Assembling a scaled store Iront • Helen Bryant completes a portrait r , ( Art Center is a practical work-shop School. Supervised. day long classes-strictly limited () ( . (I (" Daily person-to-person guidance based on Opportunities. Ethics. What is meant by Frankly breaking with out-moded traditions, in size- result in close observation of each analysis and demonstration results in rapid "free-lance." How an advertising agency func­

utility and art are fused to serve present and student's work. Twice a year, faculty mem­ ( , advancement. Experimental work encour­ tions. How to obtain an interview with an art (I ( future needs of business and industry. Serious bers evaluate students as to enterprise, de­ r aged. Special capabilities discovered. An un­ director in an agency, publishing house, mo­ ambitious students are effectively trained for pendability, taste, progress, probability of suc­ ( I ( dercurrent of pUl'poseful activity pl'evades the tion picture studio. Qualities which hold a job.

successful professional accomplishment in cess. Consensus of this opinion, is given par­ ( entire School. Confidence is built through actual experience. contemporary art fields. ents in personal interviews or letters. Any Procedure parallels requirements exacted by Capable advanced students frequently exe­ No Teachers! Faculty members are experi­ student who does not meet faculty require­ the business world. Students of advertising de­ cute free-lance commissions at current profes­ enced producing artists, designers, photog­ ments as to interest, effort or ability is dropped I sign attend a print-shop class-set their ads in sional prices. High standards and professional r raphers of genuine achievement (see pages from the School-so saving him time, money type. Design projects for manufactured arti­ quality attract sophisticated art buyers. In 37 to 41). Time is divided between their own and later disillusionment. addition to the remuneration (no commission I I r cles begin with field trips for practical research activities and the School. Expert professional A distinctly non-arty attitude characterizes the I) , as to function, merchandising, manufacturing is deducted by the School), students acquire

knowledge and sound up-to-dateness are as­ School. In consideration of the zealous student ( I ( methods, materials. Illustration students select experience, confidence, type proofs and re­ sured the student whose instructors practice preparing for a life-time profession, the School situations, interpret character and atmos­ productions of their work. what they teach! can not accept the dilettante or the half­ phere, paint for reproduction. Assignments Effectiveness of this institution's training is No Grades! No need exists for academic ar­ hearted. High school graduates are accepted taxing ingenuity and imagination are required demonstrated in terms of students. 97 % of all bitrary grades. Students are trained to draw, although it is recommended the student have (, I of photographers, as well as fine technique. students who have completed four years

think, produce in terms of salable work. additional general education in Junior Col­ " { "Business Clinics" held Saturday mornings training are employed! Each is practicing

Through group discussions, assignments are lege or University. The non-frivolous work ( \ ( are a necessary part of every student's train­ in the specific field for which he trained. Many constructively analyzed; appraised according shop classes, fast tempo and expert instruc­ c ing. Pertinent discussions relate to the busi­ additional students who were financially un­ to high professional standards. Each student tion attract older, more sophisticated students. ness side of contemporary art occupations. able to complete their training have also been acquires judgment; gauges his own progress Talent is of no practical value unless dis­ The student is given a clear conception of assisted to art positions. This record was main­ and ability. Comparison stimulates effort. ciplined and trained to serve modern needs. the requirements exacted by his profession. tained during the entire depression period! -5­ <,

( , ) LIFE FORM COLOR DESIGN INTERIOR PAINTING DEPARTMENTS DRAWING LETTERING

PERSPECTIVE FUNDAMENTALS- Many entering students do not know which profes­ TYPOGRAPHY * sional avenue best suits their capabilities. The problem solves REPRODUCTION itself. Experience acquired in the fundamental classes crystallizes WATER COLOR individual talents; points the way to specialization. All creative ILLUSTRATION art fields require similar background knowledge of drawing, design structure, light and color. Refer 10 pages 7 to 12 TECHNIQUES PACKAGING ADVERTISING- Preference and talents are brought to a sharper focus . MATERIALS * O ne student elects fashion illustration. Layo ut and fine lettering DRAFTING appeal to another. Those w ho like design, have a fine color sense, DISPLAY will do well in posters, display, packaging. Others are best suited FIGURE to illustratio n. Specialized classes, individual assignments direct ETHICS each student's effort. Refer 10 pages 13 10 18 ANATOMY INDUSTRIAL- Stude nts with a sense of craftsmanship who like materials PORTRAIT and have both a creative and mechanical bent are a tt racted to STILL LIFE industrial design. These qualifications link the numerous uses of LANDSCAPE art in industry. Students specialize in design for mass production --· INDUSTRIAL * equipment for homes, offices, transportation; interior and exterior COMPOSITION design; motion picture sets. Refer 10 pages 19 to 24 QUICK SKETCH COVER DESIGN PAINTING-Fundamental knowledge of painting is utilized in story or advertising illustration-interior or motion picture set design. Ad­ PHOTOGRAPHY vanced painting classes enable students to prepare for portraiture, BROADSIDES decorative or illustrative painting. Criticism and guidance assist RENDERING * each student to cultivate h is own interpretive ability and prdes· BOOKLETS sional craftsmanship. Refer 10 pages 25 10 30 INTERIOR FASHION PHOTOGRAPHY- The decision to become a photographer usually is LAYOUT * made prior to enrollment. Each student is drawn toward specific POSTERS interests as his experience and capabilities widen. Some students elect technical or scientific fields. Others turn to creative and iIlus· PRINTING trative work applied to advertising, news reporting, portraiture, CAR CARDS industrial, sports, fashions, e tc. Refer 10 pages 31 1036 SET DESIGN ADVERTISING -6­ SCALE MODELS FUNDAMENTALS

DRAWING FIGURE HEAD ANATOMY FIGURE CONSTRUCTION COSTUME FIGURE QUICK SKETCH ANIMALS • Henninger d emonstrates Anatomy PERSPECTIVE

DRAWING LOGIC VALUES TEXTURES FORM RHYTHM LIGHT

DESIGN AND COLOR • Drawing lrom Model-Nig ht School DESIGN STRUCTURE COMPOSITION IMAGINATIVE DEVELOPMENT TWO AND THREE DIMENSIONAL DESIGN PIGMENT COLOR PRISMATIC COLOR COLOR PSYCHOLOGY MEDIUMS • RENDERING • Drawing by Marion W iley Stirre tt

• 7· FUNDAMENTALS

To slight fundamentals is to sacrifice sound prepcIl."ation for superficial progress. Leaders in creative fields have rich back­ grounds in the fundamental requirements of their professions.

• Cleveland render ing a Cine ma Se t First in importance is ability to draw with lytical studies and imaginative compositions accuracy, spirit, fluency. Excellent draftsman­ which put new found facts to immediate use. ship is seldom a natural gift. It is acquired by Perspective is required as an essential tool of developing the artists' ability to observe, ana­ drawing. Stress laid on projection methods, lyze and interpret. Intelligent use of design, shades and shadows, reflections. Elements form, rhythm, sound understanding of color and principles applicable to illustration, in­ and light are indispensable to salable creative dustrial design, architectural and interior ren­ work whether applied to animated cartoons, dering, motion picture set sketching. murals, automobile bodies, photographs, or Design, Color, Composition: Assignments and fashion illustrations. procedure develop imaginative power, orig­ Skill in drawing is acquired in life, quick inality and taste. Broad experimentation in sketch, anatomy, figure construction, head color leads to psychological effectiveness, drawing classes. Nude and costumed models emotional appeal, force and emphasis as a used. Structure of heads, hands, feet empha­ solid basis for application in specialized ave­ sized. Character, expression, age, nationality nues. The work promotes individuality of stressed. Objective is facility in drawing peo­ ideas and treatment; adheres to sound prin­ ple in any action or mood-with and without ciples of design structure. models. Animals and birds sketched at mu­ Rendering classes augment and correlate in­ seums and zoos. Mediums: charcoal, Conte, struction in techniques included in other Pastel, Wolff's carbon. classes. Students acquire professional skill in Drawing Logic helps beginners through fact­ interpreting form, materials, textures. Study of finding study of form, textures, rhythm, light sunlight, moonlight, artificial light. Mediums and shadow. Projects alternate between ana­ include wash, transparent, tempera, scrub. ~ A beginne r's Life Class -9­ ( . ( ,

COLOR ·DESICN.

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• 10· • 11· *• Various treatments and mediums

~. - -- ­ ADVERTISI GDESIGN

LAYOUT DESIGN STRUCTURE INDICATION METHODS COMPREHENSIVES • DUMMIES TYPE SPECIFICATION, CAST-UP LETTERING CONTEMPORARY AND CLASSICAL • james Sherman cuts away chalk RELATIONSHIP TO TYPE STYLES USES FOR REPRODUCTION ADVERTISING DESIGN POSTERS PACKAGES • LABELS COUNTER DISPLAYS WINDOW DISPLAYS BOOKLETS. FOLDERS • BROADSIDES NEWSPAPER, MAGAZINE ILLUSTRATION • Myron Hall HI finishes a carton REPRODUCTION METHODS FASHION ILLUSTRATION S TYLE ANALYSIS MERCHANDISING WOMEN'S FASHIONS MEN'S FASHIONS TECHNIQUES FOR REPRODUCTION

RENDERING FOR STAGE AND SCREEN • Roland Smi th does a clock folder • 13· ABVER lSI C BESIG

Ever-changing. forward trends in modern business require highly trained specialists. Successful advertising designers must be skilled in drawing. design. lettering. layout and reproduction.

• Moore w orking from lashion model Every day. week. month. advertising requires Adveliising Illustration: Finished drawings for new sets of drawings for newspapers, maga­ reproduction from the layout stage. Use of the zines, billboards. Need for designs and illus­ camera-Iucida. Key drawings for color sepa­ trations is continuous, year in-year out. ration. High standards of technical excellence. Ideas, layouts, lettering, typography, draw­ Methods parallel agency practice. Emphasis ings, combine to sell products of farm and on the selling message. Individual assign­ factory. Modern packaging supplants the ments further special abilities. Projects include cracker barrel. figures, food, interiors, automobiles, furniture, Lettering: Elements of design and spacing. etc. Techniques: pen and ink, dry brush, stip­ Anatomy of letters based upon Caslon and the ple, scratch board, line wash, scrub, tempera. original Roman. Adaption of lettering to lay­ Posters: Simplification of detail, effective color, outs, packages, posters, direct mail pieces. legibility. Graphic poster treatment is trans­ Sound short cuts result in speed and finish. lated to three dimensional displays, plastic Typography: Familiarity with type faces. Cor­ posters, twenty-four sheets, counter cutouts, relation to subject and purpose. Specification packages. Merchandising ideas developed. and cast-up to minimize production costs. Economy of reproduction costs stressed. Layout: The logical presentation of the sales Fashion Illustration: Smart, impelling fashions message through proportion, movement. em­ for magazine and newspaper reproduction in­ phasis, balance, feeling. Professional layout clude style analysis, sales appeal, modern technique includes development of rough treatment of fabrics, action, backgrounds. sketch, finished pencil layout, comprehensives Croquis from smartly costumed models. Fash­ and color dummies. Field trips to paper, ion layouts. Finished drawings in line, wash, engraving, typography and printing houses. scratch board, Ben Day and color techniques.

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/l (l " A. Po. ~ . • A miniature modern home to scale INDUSTRIAL DESIG

INDUSTRIAL FURNITURE. HOUSEHOLD APPLIANCES A UTOMOBILE BODIES • ACCESSORIES TOYS • JEWELRY FACTORY PROCESSES, METHODS GLASS • PLASTICS • METALS INTERIOR DESIGN FUNCTION OF THE ROOM VENTILATION. LIGHTING • TRAFFIC SPECIAL EQUIPMENT COLOR SPECIFICATION DETAILING

SHOPS • STORES • RESIDENCES CONTEMPORARY DESIGN TRAFFIC • LIGHTING WINDOW TREATMENT DRAFTING • COSTS RENDERING • SCALE MODELS

MOTION PICTURE SET DESIGN MODERN AND PERIOD SETTINGS SCENARIO VISUALIZATION CAMERA ANGLES DRAFTING CONSTRUCTION METHODS • Design fo r an informal cabin lamp INDUSTRIAL DESIGN

The modern designer gives new meaning, beauty, function to ob­ jects of everyday use, The designer to industry must be trained in sound design, manufacturing processes, materials and costs,

• Kern Weber corrects student's design "Model T" is replaced by color, style, con­ Interior Design as differentiated from "interior venience. Today, machine-made articles no decoration." Rooms designed for convenience longer sell if they are ugly. Skeptical manu­ and simplicity suitable to present-day living. facturers are now convinced improved ap­ Function, exposure, lighting, traffic, ventila­ pearance results in increased sales. Cream tion, costs. Projects include nurseries, recep­ separators, watches, dentists' offices and rail­ tion rooms, executive offices, hotel bed-sitting road trains are redesigned in step with the rooms, small stores. Renderings executed. times. Modern design enables hotels, shops, Shops, Stores, Residences: Contemporary de­ homes to erase the pre-depression look. From sign applied to structural problems. Projects Montgomery Ward's catalogue to motion pic­ require practicaL economical solution. Con­ ture sets, the trend is unmistakably toward sideration of function, materials, construction. clean, functional design. Assignments cover gas stations, cocktail bars, Industrial Design applicable to mass manu­ beauty shops, candy stores, markets, pre-fab­ factured products. Study of materials-phenol ricated homes. Remodeling problems. Special plastics, glass, new fabrics, metals, woods. equipment designed. Plans, elevations, per­ Field trips to factories for observation and spective renderings, scale models executed. demonstration of manufacturing processes, Motion Pictul'e Set Design exacts unusual machines, methods. Knowledge of finishing, imaginative skill and versatility. Visualization upholstering, plating, assembling. Market re­ from actual scenarios. Creative but accurate search of sales and distribution factors re­ sketches. Comprehensive knowledge of period quired for each assignment. Projects cover architecture, ornament, costumes. Camera articles of everyday use-home and office angles. Dramatic lightings. Drafting. Render­ equipment and toys. Renderings and models. ing. Studio set construction-methods. Costs.

~ Dorothea Holt Designs a Bedroom Interior •

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.. • 24 · , PAINTING

CRAFT OF PAINTING PREPARATION OF GROUNDS PIGMENTS • BINDERS • VARNISHES INDIVIDUAL EXPERIMENTATION

COLOR COMPOSITION RESEARCH. PSYCHOLOGY

PIGMENT • LIGHT • HARMONY • Painting in oil from the model STILL LIFE FORM • VALUES • COLOR COMPOSITION TEXTURES

FIGURE PAINTING DRAFTSMANSHIP FIGURE COMPOSITION

PORTRAIT • Pencil drawing in Night Classes DRAFTSMANSHIP COMPOSITION CHARACTER INTERPRETATION LANDSCAPE STUDY OF SUNLIGHT DIRECT WATERCOLOR HANDLING PERSONAL APPROACH

COMPOSITION. VALUES • COLOR • Study from the head in charcoal PAl TI NG

Significant work in painting and illustration requires fine drafts­ manship. persistent effort. integrity as a craftsman. Technical and interpretive ability are cultivated. and imitation avoided.

• Mrs. Pike painting from the model Professional avenues for painting extend be­ Still Life: Students paint from dramatically yond the walls of museums and galleries. composed and lighted arrangements. Ap­ Magazine covers, book and story illustrations, proach based on analysis of light and its advertising campaigns furnish a continuous relation to color, values, form, texture. Em­ market for capable, dependable painters. Pro­ phasis on surfaces, edges, luminosity. Daily fessional portrait painters record vitality of criticism clarifies observation; simplifies com­ children, women of distinction, men of plex problems. Experimentation encouraged. achievement. Architects and decorators com­ Figure Painting: Diversity of poses, back­ mission over-mantels, murals, wall panels for grounds, lightings. Developmentof clean color, cocktail bars, public buildings, homes. accurate values, sensitive draftsmanship. Craft of painting is stressed; arbitrary or imi­ Sound figure studies pre-requisite to portrait­ tative methods, mannerisms avoided. Honest ure, murals, illustration. painting originates with knowledge of mate­ Portrait: Interpretation of character, person­ rials, preparation of grounds, chemistry of ality, mood. Unusual models, authentic cos­ pigments, binders, varnishes. Thru sound ex­ tumes. Study of structural variation in age, perimentation, each student develops his nationality, individual physiognomy. Coordi­ personal technique; cultivates interpretative nation of fine craftsmanship, likeness, forceful ability, and acquires integrity as a craftsman. representation for professional portraiture. Color Composition: Study and research of Landscape: Classes meet a-field- study life color in all its phases-as pigment, as light, and locale in California sunlight. Old Spanish as harmony-functional relationship of color churches, Japanese fishing boats, flower to art in industry. Research is stressed. Experi­ marts. Criticism covers composition, values, mentation in polarized and prismatic light. form, light, and modern water color handling.

~ Advanced Painting: Julian E. Garnsey • 27· r

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TECHNIQUE OPTICS • CHEMISTRY LIGHT READING ACCURATE EXPOSURE DEVELOPING • PRINTING • ENLARGING COMPOSITION AND LIGHTING SHOOTING IN CLASS • Examining negalive (Dark Room) IDEAS • IMAGINATION SIMPLICITY • DRAMA • ACTION ADVERTISING SELLING APPEAL MERCHANDISING IDEAS REPRODUCTION REQUIREMENTS ACTION • EMOTION • VITALITY PORTRAIT BASIC AND DRAMATIC LIGHTINGS • Herman Wall MAKE-UP • POSING • RETOUCHING CAMERA ANGLES • CROPPING ~f COLOR ~,,,., (, '~- " SENSITOMETRY tl" . LIGHT FILTERS SEPARATION NEGATIVES . ~ ~ \ SCREEN TRANSPARENCIES CORRELATION TO PHOTO-ENGRAVING l ( • 31 • • Harold Griffith ( (. PHD OGBAP y

Challenging new fields compel modern photographers to com­ bine imagination. resourcefulness. technical excellence. Knowl­ edge of design structure developsvitality. action. dramatic power.

• The U. S. Camera Show fills the Gallery Modern Photography is as diversified as mod­ Portrait: Originality and simplicity in record­ ern life and modern business. World events ing character and personality. Studio, home, are pictured via wire-photo and news reel. Il­ outdoor, advertising, children's portraiture. lustrative photography is an inseparable part Expert demonstrations followed by student of advertising, spon, fashion, publicity. Giant practice in basic and dramatic lightings, cam­ photo murals dramatize industrial accomplish­ era angles, posing, make-up, retouching. Dis­ ment. Portraits record human emotion and tinguished specialists are guest instructors. character. Photographic methods assist Advertising and Illustrative Photography: science, engineering, invention, visual instruc­ Strict adherence to practical considerations of tion. Aerial photography illuminates the earth. strong selling appeal, suitability to purpose, Technique and Practice: Thorough, scientific reproduction requirements. Ideas and mer­ approach through supervised laboratory chandise dramatized. Consideration given to work. Individual student dark room practice. intangibles-emotion, action, vitality, humor, Chemistry and optics, emulsions, exposure. charm. Assignments pertain to fashion, news, Exacting requirements lead to perfect nega­ publicity, industrial, advertising. tives. Projection printing-control, dodging. Color Photography: Theory and practice of Composition and Lighting: Students arrange, modern color processes. Based on accurate light and make exposures according to defi­ scientific work in black and white, including nite assignments. Demonstrations and discus­ practical sensitometry. Actual student proc­ sions emphasize elements of forceful design, essing of color prints under expert supervision. rhythm, drama, movement, power. Approach Work covers light filters, separation negatives, based on developing essential factors of imag­ screen transparencies, correlation of photog­ ination, resourcefulness and pictorial vitality. raphy and photo-engraving for reproduction.

~ Ed Vieregg Shoots Action Out·of·Doors (

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* • Assignment Involving Hands and Textures • f C ,­

EDWARD A. ADAMS, DIRECTOR. Advertising Design Studied: Chicago Art Institute, Chicago Academy of Fine Arts; Counsellor in art and typography to the House of Kuppenheimer, Chicago; Art Director, M. P. Gould Co., Newell-Emmett Co., New York. Identified with Frigidaire, ( General Motors, Chesterfield, Fatima Cigarettes, Ponds, Lux, DuPont Rayon, Duco, Reo, Ford, Oldsmobile, Coty'S, Pierce Arrow, Marshall-Field, Chicago; House Advertising for Gen­ eral Outdoor Advertising Co., New York. Counsellor in typog­ raphy to Cowan & Dengler, Advertising; Fairchild Aviation r Corporation, etc. Member, American Institute of Graphic Arts.

( -~~------FRED R, ARCHER-Photography. In­ LIONEL BANKS-Motion Picture Set De­ KATHRYN BRINKMAN-Fashion illus­ structor in Eastman War School of Pho­ sign. Studied: University Salt Lake City, tration • Advertising illustration, Bullock's­ tography. Two years in France in Aerial Utah, L.D.S.; University of Southern Cali­ Wilshire, Los Angeles. Staff sketch artist Photography. Head of Art Title Dept. at fornia, Los Angeles, B.S. Architecture. Ar­ for Irene, custom dress designer to Bul­ ( I ( Universal Studios 5 years; Head of Art chitectural practice, Los Angeles, Santa lock's-Wilsh ire , creator of fin e original Title and Still Depts., 3 years at De Mille Barbara and Salt Lake City. Director, Per­ ensembles of sports and evening wear for Studio; 3 years Portrait Photographer at manent Construction, Warner Bros.; Unit distinguished women. Creator of costumes Vvarner Bros. Director of Camera Pictorial­ Art Director at Metro-Goldwyn-Mayer; As­ for stage and motion picture celebrities. ists of Los Angeles; Honorary Member L. A. sistant Supervising Art Director a t Colum­ Camera Club; Riverside Pictorialists; Asso­ bia Motion Picture Studios. Identified w ith: ciate Member Pittsburg Salon. Represented "Mr. Deeds," "King Steps Out," "Theodora in international Salons since 1914. Photog­ Goes 'Wild," "Lost Horizon," "Crime and raphy for DuPont, Westways, Wa lt Disney. Punishment," "Pennies From Heaven," etc.

• 37· WILLIAM CARNALL-Advertising Ty­ PHILIP CHANCELLOR. A.S.C.• F.R.G. WILL CONNELL-Photography • Ad­ " I A. ALBERT COOLING-Perspective. In­ ROSS DICKINSON-Life. Anatomy, Fig­ CLARENCE K. EATON-Photography. " I pography • Wide practical experience in S.• A.R.P.S.-Color Photography. Studied: vanced Technique. Represented in world­ dustrial Design • Studied: Northwestern ure Construction. Studied: John Costigan, Advanced Technique • Distinguished* ex­ the Graphic Arts, specializing in fine hand­ University of California, Engineering and wide Salons since 1919: London Salon, Royal ( 1 University, University of Illinois, School of F. Tolles Chamberlain, Charles Hawthorne, hibitor in Salons throughout the world. set typography. Typographer to: Kurt H. Mathematics. Conducted two expeditions Salon, Paris, Madrid, Barcelona, Warsaw, Architecture. Assistant Instructor, Univer· George Pearse Ennis, Sigurd Skou, Morley Recent Salon exhibitions include Brussels I . I Volk, Advertising Typography, N. Y.; Hux­ for Field Museum. Made film records in Toronto, Edinburgh. Represented in U.S. sity of Illinois. Supervising Architect's Of· Fletcher, etc. Resident Artist, Tiffany Foun· and Spa, Belgium; San Francisco, Detroit, ley House, Typographic Specialists, N. Y.; New Zealand, Cook Islands, Java, Tahiti, Camera Annuals. Work currently appears I ) r fice, University of Illinois. Designer for dation. Exhibited: New York, San Diego, Boston, Chicago, Stockholm, Sweden. Rep· Typographic Craftsmen, N. Y.; Mackenzie Sumatra, Flores Islands. Three years pho­ in national magazines. Among accounts he Leonard Macomber Airport Engineers; Hol­ Pasadena, Sacramento, Berkeley. One-man resented in important invitational shows in & Harris, San Francisco. Identified with na· tography in Balkans and Alps. Director of serves are: Old Gold, Buick, Oldsmobile, I I , abird & Root, Architects, Chicago. Designer exhibitions at Santa Barbara Art League the United States including U.S. Camera tional accounts: Shell Oil Co., Hupmobile, Photography, American Society of Cinema­ Colgate, Sunkist Oranges, Crowell Publish­ I , for C. E. Noerenberg, Architect and Engi­ and at the Los Angeles Museum in 1930 Annual. Invitational one-man exhibition­ Edison Mazda Lamps, Chesterfield Cigar­ tographers. Patron Member, Field Museum. ing Co.-Colliers, Woman's Home Compan­ " I neer, Office of Kem Weber, Los Angeles, and 1936. Recently designed and executed Photography Society of San Francisco. ettes, General Foods, Elizabeth Arden, etc. Fellow of the Royal Geographic Society. ion, American, Meredith Publishing Co., two years. Member of firm of Noerenberg murals include: School of the Arts Little Conducts one of the most modern studios of " I Heads own firm serving Bullock's-Wilshire, Fellow, American Geographic Society. Time, Life. Maintains modern studio and ' ) and Cooling, practicing residential archi· Theatre, Santa Barbara; San Pedro High photography in the west specializing in W. & J. Sloane, General Petroleum, etc. Associate of Royal Photographic Society. staff specializing in advertising illustration. ( ~ ( tecture in Los Angeles and So. California. School; Washington High School, L. A. fine portraiture, theatrical publicity, etc. (I I

~------~IIt ~ r ------­ ELIZABETH FRANKLIN-Layout. Let­ JOSEPH HENNINGER-Life, Quick FRANK HEWLETT-Photography. Re­ (1 I EDWARD B. KAMINSKI-Composition, CHARLES KERLEE-Photography • FANNIE M. KERNS-Color and Design

tering • Studied: Chicago Art Institute, Sketch. Studied: John Herron Art Institute touching. Ten years in commercial photo­ () ( , Drawing Logic. Life. Studied: Milwaukee Metro·Goldwyn-Mayer Studios, 3 years, • Studied: Columbia University. Graduate Chicago Academy of Fine Arts, Alphonse under Wm. Forsyth and Clifton Wheeler. finishing, portrait and technical work. For I . ( State Normal School, New York School of Laboratory and Camera Dept.; R.K.O. Stu­ of Teacher's College; Master Craftsman, Iannelli, Anthony de Young, Forsberg, Leo Twice won the Miller award. National past three years has been specializing in r 1 Fine Arts, Fursman, Howard Giles, and dios, 3 years, Trick Camera Dept.; Techni­ Boston Society of Arts and Crafts; Arthur I ) Katz, Frederick Grant, Gunther. Taught, Academy under Olinsky and Neilson. Four negative correction and professional reo Terlikowski in Paris. Taught: State Teach­ color, I year. Specializes in photography Dow, Frank Ingerson, Ralph Johonnot, Mac­ " , Chicago Academy of Fine Arts. Art Direc­ years fellowship Ecole des Beaux Arts, touching. Has worked out new methods of I . ( er's College, Greeley, Colorado; Ransom for advertising, fashions, publicity. Exe­ Donald Wright. Instructor, University of

tor, Will Howell & Associates, Chicago. De­ Paris; Atelier of Lucien Simon. Anatom· retouching appropriate to modern photo­ ' I I School in Paris; Head of Art Department, cutes photographic work for Bullock's-Vvil­ Hawaii, University of Southern California, signer to the Aldus Printers, New York. ical research drawings for two years for graphic methods and equipment. At pres­ I ) , Pomona College, four years. One-man ex· shire, I. Magnin, United Air Lines, All Year San Francisco State Teacher's College. Identified with Fairbanks-Morse, Kroehler Dr. W. Hume; Political cartoonist, Indian· ent in charge of Photographic Department ' 1 I hibition of creative painting in Paris. Art Club of Southern California, L. A. Knitting Identified with interior decoration of Sam· Furniture, Kimberly·Clark Paper Co., Lion apolis Post; Art reporter, Indianapolis arkand Hotel, Santa Barbara; Zinnia Room, at the Voorhis School Craft Shops, San i ' C Department United Artists' Studios, Holly· Mills, Kotex, Desert Inn, Palm Springs, Pa· Metal Products Co., Goodyear, Menesha News. Won Shaeffer Award and Culver Dimas, Calif. Expert negative correction. I , ( wood; textile designs for Fruit of the Loom cific Clay Products. Work appears current· Ambassador Hotel, Los Angeles. Director

Paper Co., Marshall Field & Co., etc. Mem· Prize, Hoosier Salon. Honorable Mention " ( Mills, New York; color counselor, stylist, ly in National Magazines: Fortune, Vogue, of Art, Pasadena Public Schools. Designer. ber, Society of Typographic Arts, Chicago. Salon des Beaux Arts, Paris. Portraiture. f) 1 and designer, West Coast Knitting Mills. Harper's Bazaar, Photoplay, Collier's, etc. Member Society of Arts and Science, N. Y. ( 1 l *

• 38· • 39· • 41 •

ALB E R T KIN G-Color and Design, Color BARSE MILLER-Landscape, Watercolor, GWAINE NOOT-Fashion Layout and ST ANLEY Z, RECKLESS-Painting: Still JOSEPH MASON REEVES-Life, Head KEM WEBER-Industrial. Interior and Research, Composition. Early training in Life • Studied: National Academy of De­ Illustration. St udied: Art Student's League, Life, Figure, Portrait • Studied: Pennsyl­ Drawing • Studied: Pennsylvania Acad­ Architectural Design • Studied: Kunst-Ge­* England. Advertising illustra tion, H. K. Mc­ sign, N. Y.; Pe nn. Academy of Fine Arts. Los Angeles. Head fashion artist Dyas Co.; vania Museum School of Ind ustrial Arts; emy of Fine Arts; Julia n's and Colarossi's werbe Museum, Berlin; Master class, Prof. Cann Co.; theatrical poster design, a rt and Twice won Cresson Traveling Scholarships three years as advertising designer and Pe nn. Academy of Fine Arts; Julian's Paris, Paris ;British Academy, Rome; Baron Sigis­ Bruno Paul; worked w ith Walter Gropius. technica l work-De Mille Studios, Lasky, to Europe. Represented: Bently Collection, fashion illustra tor, Bullock's-Wilshire, Los " Spain; Cecilia Bea ux, Emil Carlsen, Daniel mondo Meyer, Rome; Maynard Di xon, Uni­ Exhibite d contemporary interiors and fur­ Famous Players. Chancel Mural for Ven­ Boston; Wood Art Gallery, Vt.; etc. Invited Angeles; two years professional experi­ Garber, Edwin Blashfield, Philip Hale. versity of California. Represented in many niture: Brooklyn Museum, International Ex­ tura Community Church. Art Director, Bay exhibitor: International Watercolor Exhibi­ ence in Europe including work for the New Awards: Twice won Cresson Traveling permanent collections: University of Cali­ hibition of Arts and Trade, Macy's, New Cities Music Association; Santa Monica tion, Chicago; Texas Centennial, Dallas; York Herald in Paris, France, as fashion , , European Scholarship, Penn. Academy of fornia; Serpell and Phelan Collections; Bo­ York. Member: Society of Arts and Science, Theatre Guild. Research in color and com­ College Art Assn.. N. Y., etc. Numerous reporter and artist also for Nikolas in Lon­ Fine Arts; First Charles Toppa n Prize. hemian Club; U. S. Navy Department and N. Y.; Chairman Designer's Institute, Chi­ position with MacDonald Wright. Honora ry awards including Dana meda l 1936. Mem­ don. Served as fashion illustrator and Art , ' Represented: Memorial Hall, Philadelphia, numerous private collections. Exhibitor: cago. Designer to Barker Furniture Fac­ member, Cinemagundi Club. Advisor, Fed­ ber: Fellow Penn. Academy of Fine Arts; Director, J. W. Robinson Co.; fashion art­ Wood Museum, Montpelier, Vermont, nu­ Norfolk, Virginia; San Diego; Coronado; tories, Mueller Furniture Co.; Widdicomb eral Art Projects. Sculptor. Research and Philadelphia Watercolor Club: Pres., Calif. ist, I. Magnin. Heads fashion illustration merous private collections. Exhibited: Paris National Academy; American Federation Furniture Co., Grand Rapids, Michigan; manufacturer, advanced fields of ceramics. Watercolor Society. Murals. Watercolor. department, Bullock's, Los Angeles, Calif. Salon, N. Y., etc. Professional portraiture. Arts; Paris Salon. Professional Portraiture. Karpen Bros., Chicago; Berkey & Gay, etc. "

GUY COLEMAN-Advertising Typogra­ VIRGINIA LEGAKES-Color and De­ EUGENE MEMMLER-Printing, Typog­ phy, Linotype Specification • New York sign. Studied: Art Center School, Los An­ raphy • Studied: University of California, Times, New York American, Women's geles. Free la nce advertising designer. Berkeley. Wide practical experience in the Wear Daily, New York City; National Geo­ Helm's Bakeries; Duart, San Francisco; Graphic Arts industry. Printing and typo­ graphic Magazine, Washington Post, Bireley's California Fruit Products Co.; Co­ graphic experience with following firms Washington, D. C. Wide experience in book, lumbia Motion Picture Studios, Santa Fe. and publishers: Berkeley Gazelle, Berke ­ job and publication houses throughout the ley, Calif.; News Publishing Co., Sacra­ country. President, Service Typesetting Co., mento; Sacramento Chamber of Commerce, Los Angeles, serving The Mayers Com­ Foreman Printing Dept.; Charles R. Hadley pany, California Rotogravure, The Pennzoil & Co., Los Angeles; Burbank Tribune, Me­ Company, California Fruitgrowers Associa­ chanical Superintendent; Pasadena City tion, Title Insura nce and Trust Company, Schools, ten years as instructor in Ha nd The Art Center School a nd various others. Composition , Press Work, and Binding, etc. * • All mediums are used-experimentation is encouraged * • The Registrar discusses plans ORMATION

Existing levels of proficiency in contemporary mt occu­ pations determine requirements and standards exacted by this School. Four years of specialized technical training are necessw'y for successful professional accomplishment.

Person-to-person assistance each day, every Field trips supplement class-studio work. Ex­ day assures the student constructive help in pert technicians in local firms demonstrate solving his individual problems. processes involved in reproduction. Industrial Hollywood studio facilities provide an excep­ Design students observe mass production tional source of character and fashion models. methods and machines thru conducted trips Authentic costumes, unusual accessories are to factories and processing plants. available for class use. Noted Artists-industrial designers, painters, Photographic dark rooms are expertly de­ photographers, illustrators, advertising de­ signed for individual laboratory work. signers are guest speakers. These distin­ Work-shop studios are at the disposal of stu­ guished artists intimately describe their per­ dents in addition to class hours. sonal experience and professional points of Materials may be purchased at the School view. Visiting speakers have included Frank Store at prevailing retail prices. Convenient Lloyd Wright, Dean Cornwell, Anton Bruehl, $5 supply cards save 10%. Russell Patterson, Geo. Switzer, etc. Living accommodations close to the School Exhibitions in the School Galleries present are convenient and inexpensive. A list of in­ significant contemporary work in graphic spected boarding houses, apartments, hotels arts, photography, illustration, painting and and prices is maintained. Consult the Regis­ industrial arts. Student rates are procured for trar for information concerning living quarters. the opera, plays, symphony concerts, lectures. • 43· I ORMA SCHOLARS IPS

Outstanding ability, initiative and persistent effort * are qualities which determine scholarship awards.

Entrance Requirements: Beginning students: Summer Session: Six weeks June 27-Aug. 7. ' . I Annually, the School awards six A second group of scholarships *Minimum age 18. High School graduation. In­ Survey and specialized courses offered. Re­ one-thousand dollar, three year is available each year to students terest, ambiti on, general aptitude. Advanced quest special descriptive bulletin. • A surgeon works for the illustrators scholarships. Students are selected who have completed one or more standing: Submission of work. Personal inter­ Drop-in Classes: Croquis: Figure sketch class by means of a competition held years of study at Art Center. These view for analysis of previous training in rela­ Tuesday and Thursday evenings 5 to 7 P.M. each May. The competition is open scholarships are awarded on a tion to proposed study and final objective. Costume Model: Instruction Saturday, 9 to 12. to talented, ambitious students who competitive basis to students who Registration and Admission: Application must 1 \ ( Calendar: 1936-37 Entrance date September 8. are High School graduates or stu­ have demonstrated unusual abil­ be made on forms provided. If a minor, signa­ Mid-term February 1. End of term June 18. I I dents from Junior Colleges, Univer­ ity. These scholarships are avail­ ture of parent is required. $5 registration fee 1937-38 Entrance date September 7. Mid-term I ' I " r sities or Art Schools. Only those able only to those students who must accompany all applications. Students ( \ ( January 31. End of term June 17. who are financially unable to con­ are financially unable to complete must enter School at the beginning of a term. I ' ( Class Hours: Mornings 9 to 12. Afternoons 1 tinue their education are eligible. their specialized education. Minimum Enrollment: Day SchooL one-half to 4. Evenings 7 to 9:30. I ', ( () f The scholarships cover all tuition In six years, a total of 182 years of year of 19 weeks. Night School: 12 weeks. () r Tuition Refunds or credit extensions can not • Supplies are oblained al Ihe s lore costs for a period of three years. education has been made possible II f Minimum Study Schedule: Day: five half days be made for dismissaL suspension, absence (\ r The student must be able to supply for 91 students. Computed in terms a week (Except Saturday Landscape). Night: 4 ) ( or withdrawal. In case of serious illness, 12 I , I his living expenses and art mate­ of tuition, these scholarships repre­ twice a week (Except Photography). weeks or more, one-half the unused tuition , ) I rials. Announcements with all re­ sent $51,490. This contribution has Study Programs: Determined by personal in­ is allowed. Refer to enrollment application. fl I quirements clearly sta ted are sent been made by the School itself in I ' I terview. Based on previous training, analysis Changes in Registration or class programs (] ( to students and art teachers on a genuine effort to be of service to of work, professional objective. made only with consent of instructor con­ (I ( request. No one year or summer excepti onally talented young peo­ Credit: Transcripts of satisfactory work hon­ cerned, thru Registrar's office. Fee $2. { , scholarships are offered.The School p le unable to afford necessary fl (

ored and credit given by Universities. Locker Rentals cover annual enrollment per­ ( ( believes a more practical service is technical training. Annually the The School reserves the right to annually re­ iod. The School is not responsible for mate­ ( 'j ( rendered thru giving sufficien t School carries between thiriy and f ] ( , tain 3 examples of each student's work. rials left after student's last day of attendance. • Advanced class draws Ihe figure training for genuine achievement. thirty-five scholarship students. • 44· () ( • 45· ( I • t' ( I' (. (

f j ( ( I, TUITION

Business and industry have need for competent artists and designers • Cinema sets are Mr. Banks' work trained to think, act and produce . \ ( ) r in terms of today's requirements. J ( Advanced tuitions effect substantial savings. Monthly payments are detailed in enrollment form.

( ~ ( ' DAY SCHOOL NIGHT SCHOOL

( ~ ( Full time-year in advance , (SAVE $64) $250 4 nights a week-in advance . (SAVE $34 ) $ 80 11 I • Mr. Vveber discusses modern furniture. Mr. Adams poses Izumida in a Bakst I I ( (SAVE $44) 4 nights a week- 2 payments (SAVE $24) $ 90 { J [ 'I Full time-two payments . $270 No guarantee can be made as to placement. Representative current activities*: Industrial ( . ' f , Full time-one-half year, (SAVE $22) $135 4 nights a week-monthly payments. , $114 I ' Requests to fill responsible positions exceed Design: Luminous Structures, Inc.-modern n I Full time-monthly payments , . . .. $314 3 nights a week-in advance. (SAVE $25) $ 70 the School's ability to supply recommendea store, shop, theatre design. General Motors I ' ( ( 1 f Half time-year in advance (SAVE $44) $165 3 nights a week-2 payments (SAVE $19) $ 76 students. (This record was sustained thruout (Buick Division, Detroi t) -automotivebodyde­ ( . ) ( Half time-two payments (SAVE $19) $190 3 nights a week-monthly payments .. $ 95 the depression.) 97 % of all graduates who sign, Columbia Pictures, Universal, Para­ ( .l ( .

. ) I have completed four years of recommended mount--design of sets and special equipment. Half time-one-half year . (SAVE $10) $ 95 2 nights a week- in advance. (SAVE $16). $60 1 \ C work are successfully employed in the field Walt Disney Studios- animation and color. I ) ( 2 nights a week-2 payments (SAVE $10) . $66 ( i t Half time-monthly payments .. , .. $209 for which they prepared. Advertising Design: N. W. Ayer & Son, Phila­ . ) ( Summer Session: Six weeks survey courses. 2 nights a week-monthly payments,. $76 Student recommendations are based on spe­ delphia-·assistant art direction. Lord & { J ( I ' I 5 days a week-payable on entrance $50 Night School: Specialized Photography. cialized interest, capability, record while in Thomas, Erwin Wasey & Co.-layout. Los I ) Beginning Technique-16 sessions . $30 school. Equally important in making recom­ Angeles Times and Examiner-promotion. u" (. 4 days a week-payable on entrance $43 mendations to employers are dependability, California Bank-advertising manager. Fash­ ( 1 ( Advanced Technique-16 sessions. $30 ( I I 3 days a week-payable on entrance $36 initiative, practical-mindedness, capacity for ion Illustration: Bullocks-Wilshire, J. W. Rob­ ( , ( ' Composition and Lighting- I 6 sessions $30 ( I ( 5 days a week--Photography .. , .. $80 hard work and the ability to cooperate. inson, Los Angeles; Emporium, San Francisco, I . , Registration Fee: Payable on application. Portraiture-16 sessions ...... " $30 After four years of intensive study under in­ Universal Studios. Painting: Dallas Centen­ ., ( Advertising PhotographY-24 sessions. $50 structors who are practicing professionals, nial-Federal Building murals. Warner Bros. (\ Day School- effective for 5 years . .. $5.00 .. Color Photography-24 sessions . . . . $75 students need not "work for experience" in -painting. Photography: Paramount Studios ., ( Night and Summer-effective 5 years $2.50 lieu of pay. Beginning salaries are at current IJ -trick photo department. "Fortune" and new Locker Fee: Annual rental-Day School $3.50 Advance payments cover one school year, professional levels in the various art fields. photo-magazine "Life"-special assignments. , . Summer School, $2.50--Night School, $2.50 38 weeks, due and payable on entrance. *From School Placement Bureau. Complete lists on Iile.

• 46· (I • 47· *

Each reproduction represents a typical class project. None

of the drawings was especially prepared for catalogue use.

The School wishes to thank Irene Gullerman and James

Sherman for their help in the preparation of this book. E.A.A.

The contents of this book, copy, illustrations, and loyout are fully copyrighted. All rights reserved. No part may be reproduced without written permis­ sion from The Art Center School. Printed in the United States of America. Copyrighted, 1937, by The Art Center School, Los Angeles, California.