ArtCenter College of Design | Pasadena, California | Learn to Create. Influence Change.


The Archives contains historical images and material of enduring value generated by faculty, academic departments, administrative offices, students, and campus organizations beginning in the 1930s.

Included are:

  • Official records of campus administrative and academic departments
  • Printed materials and publications produced on campus
  • Historic images of Art Center campuses, faculty and staff, student work, events, and alumni
  • Audio-visual materials of student work, lectures, and events
  • Artifacts and scrapbooks related to Art Center’s history


The photograph collections consist of historical images of:

  • Art Center’s campuses at 7th street Los Angeles, 3rd street Los Angeles, and Pasadena
  • Student work
  • Classroom images
  • People, including staff, faculty, students, and guests
  • Events
  • Alumni
  • Art Center (Europe)

Founding Photograph Collection (circa 1935 – 2002):

The photographic images in the Founding Photograph Collection were accumulated and maintained over numerous decades by unknown Art Center College of Design (ACCD) staff and were processed beginning in 2003 when the Archives were established.

Accession Numbers:

Extent: 65,196 images

ca. 1935-2002
[bulk ca. 1955-ca. 1985]

Annastasia Wolfe
May, 2005

Publication Rights: Copyright is held by ACCD.  All requests for permission to publish or quote from manuscripts must be submitted in writing to the Archivist.  Permission for publication is given on behalf of ACCD as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the user.

Access: Collection is open for research

Processed by Stasia Wolfe, 2003-2005

Historical Note

Art Center College of Design was founded in 1930 by Edward A. “Tink” Adams as the Art Center School.  First located in downtown Los Angeles at 2544 Seventh Street, the school aimed to educate professional artists and had tracks in Advertising, Industrial Design, Painting and Drawing, and Photography.  It operated year round, held many evening classes, and boasted a faculty of professionals, not teachers.  During World War II, it worked with the California Institute of Technology to develop and teach a system for creating technical illustrations for equipment manuals used in the war effort. 

With an upsurge in enrollment after WW II ended, the Seventh Street campus, which was originally a courtyard of business offices, became too small.  In 1946 Art Center moved to 5353 Third Street in Hancock Park, Los Angeles.  This campus had been an all girls school for many years.  It had ample classroom space, an auditorium with a stage, and a large central courtyard. 

Along with a larger campus, Art Center also expanded its curriculum to include general education.  Beginning in 1949, Art Center awarded students who had completed the appropriate requirements a Bachelor of Professional Arts degree.  The school also offered graduate degrees. Not long after, the Western College Association granted Art Center full accreditation.  With the addition of academic courses, the college still continued to employ its original curriculum of practical art education.

During the next decade, two long lasting aspects of the school’s character began: the first of generations of Japanese students to enroll in the college began their coursework in 1955; and the first sponsored design project was assigned by an outside company.  That project was to design a Space Capsule, and it was sponsored by General Electric in 1960.  Sponsored projects, which give “real world” design problems to students, are a hallmark of the Art Center curriculum.  This is especially true of two of the Industrial Design majors: Product and Transportation design.  The Society of Art Center alumni was also established during 1960. 

Art Center’s second president, alumnus Don Kubly, began his 20 years at the helm first as Assistant Director in 1963, then as Director in 1965, and then Director and President in 1969.  While Kubly was president, the school changed its name to Art Center College of Design (1965), purchased land for a new campus in Pasadena (1971), built and moved to the school building overlooking the Pasadena Rose Bowl designed by Craig Ellwood Associates (1976), celebrated its 50th anniversary (1980), and laid the plans to open a campus in Europe (opened 1987).

During Kubly’s era as President, significant changes happened in the educational programs as well.  By the late 1960s, Art Center no longer offered Professional Arts degrees.  Instead, it began to award more traditional Fine Arts and Science degrees.  The school established a Film major and the Environmental Studies program early in the 1970s, and created a Communications Design department in 1974.   By the mid 1980s, the school had the following departments:  Communications (which included Advertising and Graphics/Packaging), Film, Fine Art, Illustration, Industrial Design (including Transportation, Environmental and Product Design), and Photography.  Kubly retired in 1985, and David R. Brown became the College’s third president that December. 

Under David Brown’s leadership, the Communications department was separated into two independent majors (Graphic/Packaging Design and Advertising Design); computer design was incorporated into the educational programs; the south extension to the Ellwood building was completed; and the Art Center (Europe) campus opened.

In the early 1990s, the Industrial Design department was split into three independent majors:  Transportation, Product, and Environmental Design. Another significant change was the establishment of Public Programs.  The evening classes, which had been offered since the school’s earliest years, became part of a larger group of programs separate from the Bachelor and Master degree programs and open to the general public.  Students in the degree programs had to apply for admission, whereas classes in Public Programs were open to children, high school students, and adults, depending on the level of the course. 

Art Center (Europe), located in Vevey, Switzerland opened its doors in 1987, but was forced to close 10 years later.   During the mid 1990s, Art Center had considered opening another campus in Japan.  The problems with the European campus, however, required ACCD to re-examine its focus, and the Japan campus was not pursued.

ACCD’s fourth president, Richard Koshalak, began his position in 1999.  Art Center has undertaken two building projects since then:  the Sinclaire Pavilion for students was completed in 2001, and the Raymond Building for the new South Campus in Pasadena was completed in 2004.  Educational directions have also changed, as the school undertakes a more interdisciplinary approach to its curriculum.  Additionally, minor tracks have become an important part of the educational programs, with such tracks as Entertainment design and Digital media gaining popularity with students.

In 2005, Art Center celebrated its 75th anniversary.  Instead of the original 4 areas of study (Advertising, Industrial Design, Painting and Drawing, and Photography), the college now offers undergraduate degrees in the following majors: Advertising, Environmental Design, Film, Fine Art Media, Graphics and Packaging, Illustration, Photography and Imaging, Product Design, and Transportation Design. Art Center also offers graduate degrees in Art Criticism and Theory, Film, Fine Art, Industrial Design, and Media Design.  Reflecting its earliest existence, however, the college still offers courses to the general public through its Public Programs. 

Since 1930, Art Center’s enrollment has increased from 8 students in the fall of 1930, to 1,400 undergraduate, 125 graduate, and 1,000 public program students in the Spring of 2005.  While the school has undergone tremendous changes since its founding, the essential core of its original educational mission still rests at the center of the college’s courses and educational requirements:  educating professional designers and artists.  As a result, Art Center’s alumni have had, and now continue to have, a lasting impact on art and design throughout the world. 

Administrative History

The photographic images in the Founding Photograph Collection were accumulated and maintained over numerous decades by unknown Art Center College of Design (ACCD) staff.  For the most part, the images in this collection were either generated by the school itself, or for it: the images were shot by school photographers, student scholarship photographers, or contract photographers. 

From late 1959 to early 1970, Art Center had an official school photographer who was also on the Photography Department staff.  His name was Geoffrey Fulton and it is probable that he and the Photography Department maintained the school photographs during that time period.  Eventually, the accumulated photographs were moved to Art Center College of Design’s Fogg Memorial Library; however, it is unknown how and when they came to be housed there. 

The Founding Photograph Collection was established during the intense arrangement and description work carried out under the Getty Grant Project (April 2003 to April 2005).  The collection is artificial, and represents the conglomeration of all institutional photographs created by and for the school regardless of who created them or why they were made.  Their only common relationship is that they were all being housed in the ACCD Library at the start of the Getty Grant Project. 

Because there were no accessioning records maintained before the establishment of the Art Center Archives in 2003, it is highly likely that some of the photographs dating from the earlier years of Art Center and accessioned into the Founding Photograph Collection were not actually generated by the school, but may have been shot and donated by alumni.   During the grant project, every effort was made to determine which images had been donated by alumni; to obtain Deeds of Gift from those alumni; and then to accession them separately from the Founding Photograph Collection.

The Founding Photograph Collection has been assigned more than one accession number.  This was done to avoid excessively high item numbers.

Arrangement Note

The black and white negatives, black and white contact prints, black and white prints, color slides, some color transparencies, and very few color prints in the Founding Photograph Collection are arranged into the following four Record Groups: 

  I) Art Center College of Design
  II) Art Center Alumni
 III) Art Center (Europe)
IV) Large format view books

This finding aid describes Record Group I only, which is by far the largest record group.  It is arranged into the following series:

    1. Educational Programs
    2. People
    3. Campuses
    4. Events
    5. Exhibits
    6. Faculty Work
    7. Catalogs/Publications
    8. Slide Shows
    9. Assorted

More than half of the Art Center College of Design photographs document the Educational Programs, including all of the majors: Advertising, Environmental Design, Film, Fine Art, Graphics and Packaging, Illustration, Photography, Product, and Transportation.  Generally, the majors are arranged into the following sub-series:  Classroom Setting, Student Work, Competitions, Special Projects, and Sponsored Projects.  Within these sub-series, the images are mostly arranged chronologically.

Overall Scope and Content Note

Black and white negatives (4x5, 120mm, and 35mm), black and white contact prints, black and white prints, 35mm mounted color slides, some color negatives and prints, and very few 4x5 color transparencies document the activities of Art Center College of Design for over seventy years (64,514, 1935-2002).  The photographs not only provide insight into the history of a specific art and design college, but they also document the general history of American art and design during the last half of the twentieth century.  

The bulk of the images date from the mid 1950s to the mid 1980s, and are nearly all black and white negatives, black and white contacts, and color slides.  Images documenting the decade of the 1940s are almost exclusively black and white 4x5 negatives and contacts.  From the early 1950s through the mid 1970s, the images are almost all black and white 120mm negatives and contact prints, as well as color slides; beginning in the mid 1960s, black and white 35mm film is also represented.  From the 1980s onward, most of the images are color slides, although there are also significant numbers of black and white contact prints without their corresponding negatives.  For both 120mm and 35mm film, entire rolls of film usually document a particular class or event, and it is not uncommon for an entire roll of film to contain images with little difference between frames.    

Approximately two thirds of the Art Center College of Design photographs document the educational activity of the school at all three of its California campuses, including both the academic majors and public programs, but best document the Third Street campus (39,679 images, 1946-1976) and the undergraduate majors.  There are very few photographs of the Seventh Street campus. The other third of the images highlight events, the buildings at all three of the campuses, and visitors, faculty, staff and students (24,835 images, ca. 1935-2002).  

While the educational work of the school is better documented than other activities, the individual majors are not all equally represented.  About half of the photographs in the Majors series are Product Design and Transportation Design, with the Transportation images the largest sub-series overall.  In fact, there are about as many Transportation images as there are Advertising, Environmental, Film, Fine Art and Graphics and Packaging images combined.  The smallest groups within the educational related images are Film, Fine Art, and Foundation Studies; while Advertising, Photography, Transportation, and Illustration have the widest range of dates.  In addition, the images arranged into the majors document undergraduate programs nearly exclusively.  Of the graduate programs, only Fine Art is documented, and it is documented through images of graduate students’ work only. 

For most of the majors, the images document the Classroom Setting (students and faculty interacting, students actively working on assignments, field trips, class critiques, etc.), Student Work (formal type portraits of completed student work), and Sponsored Projects, Special Projects, and/or Competitions (images documenting special assignments).  Projects and Competitions can include Classroom Setting images, Student Work images, as well as images of presentations to sponsors, but the images are arranged together because they all document the specific assignment.  

The photographs documenting Art Center’s majors provide insight into the work being produced by the college’s students, but the images also document changing styles in design and art at a much larger scale.  Even if the student designs were considered forward thinking for their time, and although they might not have ever been commercially produced, they still reflect the ethos of the particular era in which they were designed.  Not only is this true of the designs themselves, but it also applies to how the designs were executed.  Changing technology has influenced design in many ways, such as the use of photographs in advertising, the introduction of computers to assist with design, and the implementation of plastic for modeling.  All of these changes and more are well documented in the Academic Majors images.  As a result, the photographs provide a clear window into American design history.

While the images of Art Center’s core educational function are plentiful, rich, and varied, there is one significant area that is lacking; unfortunately, the majority of students’ names are unknown.  This is true of students who appear in the classroom type images as well as with the photographs documenting completed student work.  It is the exception to the rule when the designer or creator of the object or work pictured is identified.  Most of the faculty members appearing in these images, however, are identified.

Formal and posed portraits of faculty, staff, and students make up the bulk of the People series (13,870 images, ca 1940-1994).  This series is the second largest within the Art Center College of Design record group.  As with the academic images, identification information is lacking for many of the photographs of students, but is available for the faculty and staff images.  Images of visiting lecturers and other guests are also in the People series.  These images highlight Art Center’s relationship with various corporations (especially automobile companies), professional designers and artists, and various organizations.

Photographs of Art Center’s three California campuses document changes in the school’s physical space over time are filed in the Campuses series (4,130 images, ca. 1937-ca. 1992).  The Ellwood Building on the Pasadena campus is the best documented, including construction of the building and general campus scenes.   (Dedication ceremonies and groundbreakings for the Pasadena campus are arranged in the Events series).  In addition, there are photographs which seem to record activity at the school during a single day.  Only two photographs record the school’s first campus on Seventh Street, and one of those images was taken in about 1980, more than 35 years after Art Center had vacated the location.   A much larger number of images document the buildings and campus scenes at the Third street location (890 images, ca. 1946-ca. 1976).  The Ellwood designed campus in Pasadena is by far the best documented facility (1,125 images, 1946-ca. 1992).

Graduations, inaugurations of presidents, staff and faculty retirement parties, student events, meetings, and corporate donations are some of the types of activities documented in the Events series (4,170 images, ca. 1947-2002).

Photographs in the Exhibits series (1,240 images, ca. 1946-ca. 1991) range from visiting artists, to student shows, to the sculpture garden at the Pasadena campus.  The majority of the images are of the exhibit opening receptions, although some photographs are of the exhibited art work itself.

Other series in the Art Center College of Design record group include copy work from catalogs, slide shows collated by faculty and staff, and a handful of images of design work by Faculty Virginia Legakes Adams and Palmer Schoppe (1,320 images images, 1947-1990s).  Unidentified images and a small group of images that did not fall under any other grouping make up the final series in this record group (180 images, ca. 1935-ca. 1995).

Note regarding original groupings in the Photographs

Some images in the Art Center College of Design record group represent the work of specific photographers, such as Geoffrey Fulton, school photographer from 1959 to 1970.  Although the photographs are now organized into one massive artificial collection and are arranged by broad subject areas, it is worth noting what groups of images seem to have been shot by the same photographer, or at about the same time, or probably for use in the same catalog or other publication.  They are rather distinct groups and can be recognized even now that they are sorted into subject categories regardless of their possible related creation or origin.  Of course, there were images that did not fall into these groups of photographs, most of which date from before and after the following groups.

  1. Unnumbered black and white 4x5 negatives and contacts, ca. 1949-50.
    All were dated “1949-50” on their original sleeves, and seem mostly to be intended for catalog use.
  2. Numbered 120mm black and white negatives, ca. 1955-1956
    These are simply numbered in what appears to be consecutive order, directly onto the negative (numbers 1-921).  There are some duplicate numbers, and not all numbers are accounted for.  Possibly the duplicate numbers represent two different years, or perhaps two different photographers, but we do not know.  A list of these negatives was compiled during arrangement work.
  3. Unnumbered color slides and 120mm black and white negatives, ca. 1958-1959.
    All of these slides have a distinct orange colored design on their paper frames.  Most of the slides have corresponding 120 mm negatives of the same photo shoot.  A few negatives from this series do not have accompanying slides and visa versa. These images mostly seem to have been shot to use as portraits of faculty and staff in the catalog.
  4. Numbered negatives, contacts, and prints (mostly black and white); unnumbered colored slides, 1959-1970
    This very large group of photographs, now arranged into the subject headings of the Founding Photograph Collection, was taken by school photographer Geoffrey Fulton.  Fulton gave a number to each photo assignment, tracked the assignments in a log, and wrote the number directly onto the negative before contacts were made.  His numbering system was simple, accounting for year and consecutive photo shoots.  For example, 65.67 was the 67th shoot made in 1965.  He also assigned each frame of 120 mm film an alphabetic code, starting with A, and then he carried that numbering code over to 4x5 negatives and 35mm strips.  Fulton did not number slides associated with each logged photo shoot.  During processing and arrangement, every effort was made to group slides with their associated negatives/contacts before item level accession numbers were assigned. Original descriptions of the shoots are listed in the photo log kept by Fulton (ACCD Archives Accession 2003.18). 
  5. Numbered black and white contact sheets and 120mm negatives, ca. 1966
    These seem not to have been shot by Geoffrey Fulton, as they have a completely different numbering system than he maintained.  They are exclusively of faculty portraits used in the 1967 catalog.  They are numbered consecutively with “239” as a leading number, directly onto the negative.  The photographer is unknown but the “239” must have represented this unknown photographer’s system. The ACCD Archives has 239.1 through 239.223, with some duplicates.  A list was compiled during processing and almost all of the images are now filed in the Faculty series.
  6. Unnumbered black and white 120mm negatives and contacts, ca. early 1970s.
    Photos by scholarship students
    After Fulton was no longer shooting photographs for the school, students were the primary school photographers.  Images shot during this time period often have the student’s name written on the back of the contact sheets.
  7. Unnumbered black and white contact sheets, ca. 1984
    These images were all shot by Eric Myer (Photography major, 1979) for the 1985 catalog. 
  8. Color slides mounted in white plastic frames, ca. 1985
    Although these have an unidentified photographer (or photographers) they were all numbered in the same way with black felt tip pen.  A repeated number was given to 10 to 20 slides or more, although the slides were all different images.  It is not clear how the repeating numbers functioned.

Majors/Departments, ca. 1935-1995 (40,346 images)

Advertising, 1947-1990 (1,235 images)

In the Advertising series, there are more than twice as many Classroom Setting images (1947-1969, ca. 1984-ca. 1985, 820 images) as Student Work images (1950-ca.1990, 385 images).  However, there are no images documenting the Classroom Setting from the 1970s or early 1980s.  Critiques and mock agency presentations from the mid 1950s to the late 1960s make up the bulk of the Classroom Setting photographs.  Other images include students working on layouts and faculty critiquing final work. The most commonly pictured faculty in the images are Department Chair Harvey Thompson and instructor James Jordan.  Appearing less frequently are: Edward A. Adams, Mario Donna, George Jergenson, Vance Johnson, Charles Potts, George Rappaport, and Jack Vibber. (Note: the bulk of images documenting Adams as a teacher are arranged under People: Presidents).

Examples of Student Work are primarily from the 1950s and 1960s, with early images including the student posed as if they are “working” on their completed project.  Nearly all of the images of the student work from the early 1960s onward are color slides.  Overall changes in how advertising has been conveyed from the 1950s through the 1980s are well documented; the earlier designs are nearly exclusively hand illustrated, while later advertisements (from about 1965 onward) almost all include photographs in the layout.  The student work almost all predates the use of computers to execute design, and therefore provides insight into earlier hand produced techniques, many of which are no longer in use. 

There are very few images of Advertising Competitions, and they mostly date from only a twelve-year time span (1949-1961, 1985, 35 images).  Most of the photographs depict judges evaluating student work, although for The Western Advertising Poster Competition (June 1949), there are images of students posed with their entries.  Images of the Western Advertising Poster Competition also include photographs of graphic designer Lester Beal holding student work. 

For additional images documenting Advertising students’ work on sponsored projects and other competitions, see Graphic Design Competitions (St. Regis Co. High Protein Snack, 1971 and Bitter Auto Co. 1984); Illustration Competitions (San Fernando Daily News Poster, 1983 and Salvation Army, 1969); and Photography Special Projects (U.S. History Exhibit, 1964).


Currently (in the year 2005) Advertising Design and Graphic Design are two different departments.  This was not always the case.  For many years, Advertising included Graphic Design while Packaging Design was part of Industrial Design.  Towards the end of the 1950s, Packaging became part of Advertising.  Not until 1986, did Advertising and Graphics become two separate departments.  Because of this, it was not possible to systematically divide between Advertising and Graphics while arranging the photographs. 

With that said, there were some simple differences followed during the arrangement. Graphic design includes lettering and package design.  The more subtle difference between the effort to sell/sway/convince with advertising versus the visual presentation of language and images in graphic design was not as easy to differentiate.  Researchers interested in the history of student work in these areas should probably examine both Graphics as well as Advertising. 

For merchandizing design (point of sale displays) before the late 1980s, see Environmental Design.

Joint class projects with the Advertising and Photography departments can be found in both Advertising and in Photography.  Generally, images documenting layout/design activity are in Advertising, while images highlighting photographic work are in Photography.

Environmental Design, ca. 1945-ca. 1990 (3,480 images)

In the Environmental Design series, the Classroom Setting images (ca. 1945-ca.1990, 1,060 images) fall into three distinct types: faculty giving critiques, students working on models or drawings, and the rubber band races for instructor Gaylord Eckles’ 3-D form class.  The faculty appearing most often in the Classroom images are: A. Albert Cooling and Gaylord Eckles.  Other faculty members frequently captured in the images include:  William Brewer, Bruce Burdick, Morgan Embroden, Werner Heumann, Dan Morganelli, and Herb Rosenthal.  The following faculty appear in perhaps one or two classroom shoots: Edward A. Adams, George Jergenson, Vance Johnson, Sterling Leach, Alvin Lustig, Strother MacMinn, William Martin, Gene Nelson, David Solon, Joseph Thompson, and C. E. Wescott.

The largest group of images in the Environmental Design series highlights Student Work (ca. 1945-ca.1990, 2,030 images) from course assignments, with the majority dating from about 1950 to 1970.   There are about twice as many Student Work images as Classroom Setting photographs.  Student Work includes renderings and models of buildings, renderings and models of furniture (furniture can also be found in Product Design), models of museum exhibits, various spatial designs, and specialized structures (practice models in three-dimensional, multi-material design).  All student work images dating after 1970 are color slides.

There are a number of design assignments that are documented in both the Classroom Setting and in the Student Work series for Environmental Design.  For these there are images of critiques and of students constructing models in Classroom Setting, as well as images of the final models themselves in Student Work.  These assignments include: exhibits (ca. 1947); an industrial complex (ca. 1955); ports, chapels, heliports, and expositions (1961); merchandising displays (1962); heart association display (1963); an unidentified building model (1965); and waterborne housing (1972).
Most of the Environmental Design Competition related images depict judges evaluating student work, students posed with judges, and student winners posed alone (1965-1966, 1987, 190 images).  The only student entry represented in this series is a 1987 corporate sculpture for Honda by Kurt Durrantor (Environmental major, 1987), which is documented in 2 color slides. 

Images documenting the Sponsored Projects assigned to the Environmental design students include both the final critiques and presentations as well as the student designs (1972-1987, 200 images).  Projects vary from bus shelters, to office spaces, to medical stations, to aircraft interiors.  A project for the I. Magnum, (Magnum Park) may have been a joint project with Graphics.  (Please see Sponsored Projects in the Product Design series for slides documenting the American Standard Bathroom project (1983) which seems to have been a joint project assigned to both the Product and Environmental departments.  Also, the interdisciplinary train project (1984) filed in Transportation Special Projects was carried out by Environmental, Graphics, Transportation, and Product students).

Until the late 1980s, design for merchandizing fell under Industrial Design/Environmental Design.  After the late 1980s, merchandizing design switched to the Graphics Design department.  See Graphics Design for designs dated after about 1985.

Film, ca. 1947-ca. 1994 (640 images)

Film is one of the smallest groups of images in the Academic Majors (ca. 1947-1994, 640 images).  In this series, the Classroom Setting photographs document students making movies on location and in the sound stages at both the Third Street and Pasadena campuses (570 images).  The photographs date pretty evenly across the forty-year date span (ca. 1947-ca. 1985).  Faculty appearing in these images include: Ernst Fegte, Jean-Pierre Geuens, Dick Ham, Len Keenon, and Thomas Rook.

Student Work images are stills from films, and represent only a handful of student films from about 1990 and 1994 (70 images).

Fine Art, 1950-1994 (1,680 images)

In both Classroom Setting (1950-1994, 1,045 images) and Student Work (ca. 1955-ca. 1990, 535 images), the bulk of the Fine Art images date from the 1960s and 1970s.  Photographs of the Classroom Setting include students painting from live models as well as constructing more abstract 3-dimensional pieces.  There are numerous black and white contact prints (without their corresponding negatives) documenting students making plaster casts of each other’s bodies from the early 1970s. 

Photographs of faculty in the classroom document the instructors as they give critiques, lectures, and demonstrations.  The faculty member most often pictured is Department Chair, Lorser Feitelson.  Additional faculty include:  Harry Carmean, Laurence Dreiband (Department Chair 1972-present), Eugene Edwards, Eugene Fleury, Stanley Reckless, Paul Souza, Audobon Tyler, and Glenn Vilppu.

The Student Work images (ca. 1955-ca.1990, 535 images) is a relatively small group of photographs compared to the same series in other majors.  Nonetheless, the images provide insight into general changes to twentieth century Art.  The earlier works are almost exclusively abstract paintings, while later pieces are of mixed media, and even some are computer generated.  Unlike any of the other majors, the Student Work images in Fine Art document both undergraduate and graduate work.  In some instances, almost an entire portfolio of graduate work is documented.  This is particularly true for the following students:  Mary Lee McNutt (MFA 1967), James Murray (MFA 1972), and Kamran Moojedi (MFA 1985).

Particular images of note are Laurence Dreiband’s Bachelor’s work (1967) and his Master’s work (1968) in the Student Work series, as well as slides of Lorser Feitleson discussing Dreiband’s Bachelor’s work (1967) in the Classroom Setting series.

Arrangement Note:
While arranging the photographs, it was not always possible to make a clear distinction between Fine Art (which was called Painting as a major for many years), Illustration, and aspects of Environmental Design.  Every effort was made to be consistent with differentiating between the majors.  Generally, images of students painting were organized under Fine Art.  But, some student work filed in Fine Art may technically be Illustration and vice versa.  Because there was no way to tell, work of a more abstract nature was filed with Fine Art and work that seemed to narrate a story was filed under Illustration.  Most 3-dimensional art pieces were filed under Fine Art, although some may have been created in Environmental Design classes or Foundation classes.

Graphic and Packaging Design, 1945-ca. 1992 (3,280 images)    

Images of the Classroom Setting (1945-ca.1992, 1,295 images) in Graphic and Packaging Design document faculty critiques, visits to area presses, students working on packaging and lettering projects, and students working in the Archetype Press.  There are very few images of students working on projects in the 1960s and 1970s, as most of the photographs are from the 1950s and the 1980s, and in general faculty critiques are the best documented activity overall.  A significant number of faculty appear in the images, but Mary Sheridan is by far the most often pictured.  Mortimer Leach, Paul Hauge, and Hal Frazier are also well documented.  Additional faculty members include: Olavi Aho, Henry Clack, Charles B. Davidson, Vance Johnson, Alvin Lustig, Bernyce Polifka, Charles Potts, Mary Scott, Tom Schorrer, Chris Smith, and Harvey Thompson.

There about the same number of Student Work images (1950-ca. 1990, 1,330 images) in Graphic and Packaging Design as in the Classroom Setting series.   The work documented is mostly food and other product packaging designs, lettering, and graphic layouts.  Additionally, there are annual reports from the late 1970s and early 1980s.  Some of the images from the 1950s include close-ups of the student posed with the finished design, as if they are still working on it.  The earlier photographs document the intense handwork involved in the designs, while later work highlights the expanding place of photography in graphic design.  After 1970, the images are nearly exclusively color slides.  There are only a handful of enlarged prints in this series.

Competitions (ca. 1955-1987 380 images), Public Graphics Projects (1978-1980 130 images), and Sponsored Projects (1975-1985, 145 images) document special design assignments given to students.   For the most part, these images are of the final student work; however, judging, faculty critiques, and students posed with entries are also included. The majority of the Competitions images are of student entries in an annual St. Regis Paper Packaging Contest, 1964-1968.  Two of the competitions were assigned to joint departments, but are arranged here in Graphics.  They are:  St. Regis Paper Co. High Protein Snack marketing and packaging contest, 1971 (with Advertising); and Bitter Auto Co. Poster Competition, 1984 (with Illustration and Advertising).  Additionally, student work entered into competitions by both Graphics and Illustration students together can be found in Illustration: Competitions.  Finally, an interdisciplinary train project assigned to Transportation, Environmental, Product, and Graphic Design students in 1984 is arranged in the Transportation, Special Projects series.    

Three Sponsored Projects (1975-1985, 145 images) in Graphic and Packaging Design provide some insight into Art Center’s relationships with outside corporations.  One of the projects was a joint assignment with Product Design (Bristol Myers Deodorant Packaging, 1975). The three Public Graphics projects (1978-1980, 130 images) are documented primarily with color slides, and include images of proposed sign locations, student designs, and completed designs installed at the intended sites.  Two Sponsored Projects in which Graphic students were involved with other departments include the Magnum Park Project, 1985 (see Environmental Design: Sponsored Projects); and the Ford Taurus campaign, 1985 (see Photography: Sponsored Projects).

Illustration, ca. 1935-1987 (4,680 images)

The majority of the Classroom Setting images (ca. 1935-ca. 1985, 2,305 images) in the Illustration series depicts groups of students drawing or painting under the direction of an instructor, or a teacher doing a critique; but there are also images of individual students focusing on their own work, and faculty working one-on-one with students.  The settings arranged for the students to work from range widely from nude models, to fashion models, to complicated set-ups of costumed models in historical outfits, to live animals, to models posed with automobiles.  There are significantly more images of classes in the courtyard and in front of the Third Street campus than outside at the Pasadena site, and none of them outside the Seventh street campus.   Field trips to Corriganville in the 1960s for Theodore Youngkin’s perspective classes are also well documented. 

The earliest Classroom Setting images in Illustration are of Virginia Legakes Adams and students.  Indeed, she is one of the most often pictured faculty members.  Other frequently shown faculty are: Harry Carmean, Grant Marcus, Nina Novinska, Midge Quenell, and Theodore Youngkin.  Additional faculty include: Reynold Brown, Eugene Edwards, Lorser Feitelson, Philip Hays, J. Morgan Henninger, Richard Huebner, John LaGatta, Harold Kramer, Strother MacMinn, Charles Mooshian, Jack Potter, Donald Putman, Stanley Reckless, Dorothea Redmond, Palmer Schoppe, Paul Souza, Audobon Tyler, Mary Vartikian, Charles Wilimovsky, and Vernon Wilson.

The bulk of the Illustration Student Work photographs (ca. 1948-1984, 1,465 images) dates from the 1950s to the 1970s, and the majority is color slides.  Many of the earlier images of Student Work from about 1950 to 1960 include the student posed in an “action” shot with the finished work.  Individual student illustrations are of course wide ranging in subject and style, but there are some repeating types across the 35 year span: fashion illustrations, figure and head sketches, and groups of multiple images to illustrate a story.

Technical Illustration photographs (ca. 1950-1987, 45 images) are arranged separately from the general Student Work and Classroom Setting series in Illustration because they represent a very short-lived and particular development in Art Center’s curriculum.  These images document the technical illustration courses designed during World War II with the California Institute of Technology in response to a need for easily understood equipment manuals.  Although all of the images date from about 1950 to 1952, the photographs still highlight this temporary, but important, change in the curriculum and include:  instructor Hamilton Quick in the classroom with students; students working on technical drawings; and images of equipment and machinery possibly used as models for the illustrations.

The bulk of the images documenting Illustration students’ involvement in Competitions (ca. 1950-1987, 225 images) date from the late 1980s.  The images are of student entries, and are nearly exclusively competitions for poster designs.  Two competitions represent work from both Illustration and Graphic design students.  These are competitions for a Mary Pickford Foundation poster (1987) and a Herbert Nadel AIA and Partners New Years Greeting (1985).  Additional Illustration student competition work with other departments can be found in Graphic Design: Competitions (Bitter Auto poster in 1984).

Color slides in Special Projects (1969, 45 images) document students’ response to an assignment to depict the mission and programs of the Salvation Army.  Student works chosen to appear in a supplemental advertising section of The New York Times in 1969 are arranged in the same order as in the publication, and the students who designed the works are identified.  Additional images not featured in the Times advertisement are also included.  The project was carried out by Illustration, Advertising, Fine Art, and Photography students.
Four special illustration Workshops (1964, 1985-1987, 595 images) organized for the students are extremely well documented. These Workshops include one organized by Donald Putman for his illustration students in 1964.  During this workshop, visiting illustrators (some of whom were Art Center alumni) came and drew from a set imitating a Gauguin painting.  Three other workshops in the 1980s were much grander in scale.  These workshops were held in 1985 by Antonio Lopez, in 1987 by George Stavrino, and in 1986 by other illustrators for “Punk is not a fashion statement.” The only identified guest at the “Punk is not a fashion statement” workshop is Malcolm McLaren, one of the founders of the Sex Pistols.

Photography, ca. 1935-1990 (4,570 images)

About half of the Photography Department images are of the Classroom Setting (ca. 1935-1990, 2975 images).  The Classroom type images range from documenting location shoots at many different spots in Southern California, to studio shoots at all three of Art Center’s main campuses, to advertising layout shoots, to fashion shoots, to students working in the darkroom, to faculty critiques of student work.  By far, the most often pictured faculty member is Charles Potts.  George Bronner, C.K. Eaton, and James Jordan also appear frequently.  Additional faculty include:  William Connell, Preston Duncan, Otto Hamler, George Hoynigen-Huene, Edward Kaminski, Al King, W. P. Macgalliard, Raymond Thursby, and Arthur G. Wood.  Some faculty from other departments are captured too, but mostly in only one or two shoots:  Edward A. Adams, Sims Carter, George Jergenson, Charles Kratka, Donald Kubly, George Rappaport, and Harvey Thompson.

There are far fewer images of actual Student Work than Classroom type images.  The Student Work photographs (1943-1988, 425 images) include polished final work by students, but also a fair amount of less formal photographs from the late 1940s that seem to have been specific class assignments, but the purpose of these assignments is now unknown.

Competitions (ca. 1945, 16 images), Special Projects (ca. 1945-ca. 1951, 740 images) and Sponsored Projects (1985, 300 images) show the wide-ranging assignments given to Photography students, but only during two distinct time periods,1945-1951 and 1985.  Unlike many of the other majors with multiple Competitions and Sponsored Projects, Photography only has one of each.  Competitions are represented by images of a circa 1945 Popular Photography contest.  Black and white negatives and contacts show students receiving awards at the ceremony, posed together, and posed singly with their work.  A much later group of images documents a Sponsored Project to create a visual campaign to launch the new Ford Taurus (1985).  This project seems to have been a joint assignment with Graphics.  Slides document the Taurus assignment and include student entries, students preparing for photo shoots, Department Chair Frederick Hutton examining negatives with students, and the final presentation to Ford Motors and J. Walter Thompson Inc. 

Special Projects (ca. 1949-1964) include two coordinated by George Hoynigen-Huene, one by Charles Potts, and another by Potts together with Advertising instructor George Rappaport.  Hoynigen-Huene’s projects were elaborate movie and stage type photo shoots of “Carmen” (ca. 1949, 640 images) and “Salome” (ca. 1949, 22 images).  For both projects, there are very few images documenting the students at work, but “Carmen” is far better documented overall.  A series of carefully selected images show the story’s narrative, while additional negatives provide some insight into the staging and photography behind the finished product.  For the “Salome” project, however, there is only one contact print and one negative of the staging: the other 20 images are of the title and credits (black and white negatives).

The Special Project lead by Charles Potts is a photo shoot to Mexico in about 1950.  The black and white negatives are almost all aerials of unidentified landscapes and do not give a clear indication of the given assignment. 

The best-documented Special Project is the U.S. history exhibit assignment lead by both Potts and George Rappaport for Photography and Advertising students.  In fact, this is one of the best documented projects across all of the majors.  The 1964 assignment was to design an exhibit that would “graphically document the history of the USA from 1920 through 1963” (per the 1964 catalog).  The project is documented from beginning to end, including faculty critiquing plans, students building components of the exhibit, installation of the exhibit, and final presentation in the auditorium at the Third Street campus.

Images of assorted photo shoots (ca.1945-ca.1960) highlight a variety of unidentified photography assignments, and mostly date from the late 1940s.  In almost all of the shoots, the classroom is visible.  Shoots include such sittings as models posed as a family spending time together at home, models posed to tell a story of a couple on vacation, and students during an “average” day in their housing co-op.

Joint class projects with the Advertising and Photo Departments can be found in both Advertising and in Photography.  Generally, images documenting layout/design activity are in Advertising, while images highlighting photographic work are in Photography.  Additionally, there are images in Illustration: Special Projects documenting photo students work in a Salvation Army project.

Product Design, ca. 1945-1995 (7,735 images)

The variety of images, full date range, and high numbers make Product Design one of the best documented majors.  Not only do the photographs highlight the curriculum and student work of the specific major, but they also provide insight into American material culture generally.  Although the student designs may not have ever been commercially produced, the designs nevertheless reflect general changes in the types of products being designed and sold in American markets after the end of World War II, and globally by the mid 1980s.

Classroom Setting images (ca. 1945-1989, 810 images) in the Product Design series include faculty giving critiques to classes of students, as well as advising individual students as they work on drawings or models.  Students are documented as they work on all phases of their assignments, from drawings, to clay models, to plaster molds, to fabrication of the fully completed models.  A fair number of images highlight students working outside, but most take place in model shops and in classrooms at the Third Street and Pasadena campuses. The product designs are wide ranging and include such items as kitchen appliances, clocks, parking meters, boats, and office equipment.  John Coleman, Joseph Thompson, and Theodore Youngkin are the most often pictured faculty in the Classroom Setting images.  Additional teachers include: William Brewer, Albert Cooling, Joseph Farrer, George Jergenson, Gordon Mackay, and Strother MacMinn 

Images of Student Work (1949-1995, 2,035 images) in the Product Design major is one of the largest sub-series in the Founding Photograph Collection overall, but this is not the largest group in the Product Design major (Sponsored Projects is).  About half of the Student Work images are from the 1960s.  Student Work highlights an amazing array of student designs and the images include both concept drawings and completed models.  As with other majors, images from before about 1955 sometimes also include the student posed with their finished design, as if they are still “working” on their project.  Earlier designs tend to be less complicated, while later product models incorporate computer concepts, and in fact include designs for computers.  This trend toward complexity reflects the advance of the technological age in the later half of the 20th century. 

As already stated, the Student Work found in Product Design is widely and impressively varied.  However, the work can be generally divided into the following areas:  household products (such as egg beaters, clocks, utensils, tools); appliances (such as stoves, vacuums, sewing machines); office equipment (such as calculators, desk sets); computer equipment; toys; transportation related equipment (such as tractors, snow mobiles, bicycles, boats, hang gliders, but NOT automobiles.  Automobile design is taught in the Transportation Major); furniture; scientific equipment (such as microscopes, airplane cleaning systems); and other assorted products (parking meters, sinks, backpacks).  Please note that furniture can also be found in the Environmental Design series.

Product Design’s Special and Sponsored Projects together make up one of largest groups of images in Academic Majors (4,890 images) overall.  The photographs provide insight into the wide range of industry assigned projects to Art Center students, as well as special projects taken on by various classes. The Special Projects (1949-1982, 1325 images) include such products as cooking pots, scooters, airplane seating, fire plugs, and micro-robot assisted leg braces.  These Special Projects are not tied with a particular sponsor, but appear to be projects treated differently than general course-work.  The photographs document drawings, students working on models, completed models, presentations to faculty and visitors, and critiques.  There are few faculty shown in these photographs: George Jergenson, Joseph Thompson, and Theodore Youngkin.

The very first project to be assigned to Art Center students by an outside company’s sponsorship was the 1960 Space Capsule project.  It was assigned by General Electric, and the project is well documented in the Sponsored Projects series (1960-1988, 348 images).  The images include George Beck of GE assigning the project, student drawings, students working on the model, John Coleman advising students, and the final presentation to General Electric representatives.  In addition to black and white images and color slides, the Space Capsule project is also captured in color negatives and transparencies.

The best documented Sponsored Project in the Product Design major is the second to have been sponsored.  This is the Catalina Project which the Industrial Designers Society of America assigned in 1961 (1,909 images).  The project was to create small water craft, and then present the designs to IDSA conference attendees.  The images document five different solutions designed by groups of students, and show students working on their models from start to finish, faculty John Coleman and Joe Farrer working with the students, students testing their designs at Paradise Cove, and then the final presentations at Catalina Island.

The third best documented project is an exhibit trailer (1965) for which some student design ideas were eventually incorporated into an actual trailer used by the Los Angeles City Schools.  In addition to Art Center images of the models under construction and final presentations, there are official Los Angeles City School photographs of students touring the completed exhibit trailer.

The other Sponsored Projects (1963 to 1988) are not as well documented.  Generally, the projects included are for large scale products and range from such assignments as airplane seating, to earthmovers, to bathrooms, to kitchen appliances.  The American Standard Project (1983) seems to have been a joint assignment to both Product and Environmental design students. There is only one sponsored project for a small product:  a Kodak camera (1988).  Like other sponsored projects, the Kodak images include a final presentation to representatives from the sponsoring company.  Almost all projects include some or all of the following: images of drawings, students working on models, completed models, and final presentations.

For images documenting an interdisciplinary train project in 1984 assigned to Graphics, Environmental, Product and Transportation students, please see Special Projects in Transportation.

Transportation Design, ca. 1948-1995 (10,256 images)

Transportation Design images make up the largest group of images in the Academic Majors, and in fact, in the Founding Photograph Collection overall. In addition to documenting the Transportation major at Art Center, the photographs also provide a wealth of visual documentation highlighting the changes to automotive design in the later half of the twentieth century, and the methods used in carrying out such design.

The smallest sub-series within the Transportation Design images is Classroom Setting (ca. 1948-1989, 1,431 images).  These images include faculty giving critiques to groups of students, as well as faculty advising individual students as the students work on their assignments.  Students are documented while they work on all phases of their assignments, from drawings (including full scale drawings), to tape drawings, to air brushed renderings (including full scale renderings), to clay models in all different phases and numerous different scales, to “space bucks” (framed models, both small scale and full scale, used to understand and refine spatial relationships for the proposed design interior), to fabrication of fully completed models.  A fair number of images highlight groups of students working outside with “space bucks,” but most of the classroom related images take place inside model shops and inside classrooms at both the Third Street and Pasadena campuses. 

The best documented decade in the Classroom Setting images is the 1960s, but there are only a handful of photographs from the 1970s.  Students A. K. Ragheb (Product major, 1951), and Robert Bartholomew (Product major, 1950) are in numerous photographs from 1949-1950.  Conversely, there are only 2 female students included in the entire group of Transportation Design Classroom images and both are unidentified:  one in the mid 1950s working on a dash board, and one in 1966 listening to instructor Strother MacMinn as he discusses a full scale clay model. 

Strother MacMinn is, in fact, one of the most often pictured faculty members in the Classroom images.  George Jergenson (Industrial Design Department Chair), Keith Teter (Transportation Design Department Chair), and Joseph Thompson (Model Shop) are in about as many photographs, while Joseph Farrer (Model Shop) is in about half as many photographs as MacMinn.  The least often pictured are Harry Bradley, John Coleman, Richard Collier, Ron Hill (Transportation Design Department Chair), Hugh Jergensen, and George Martin (Model Shop). 

Images of Student Work in Transportation Design (ca. 1948-ca. 1992, 726 images) are primarily of automobiles, but some busses, trucks, trains, and other imagined/alternative forms of transportation are also included (ca.1948-ca. 1992). Full scale renderings, models and “space bucks” document student work, as well as additional smaller scale versions such as 1/5 and ¼, and even smaller in renderings and sketches.  It is not always clear in the photograph what scale has been followed in a drawing or model.  Some images include students posed with their projects as if they are working on their assignment.  The majority of the Student Work photographs, however, do not include students.  Only two faculty members are to be found in this grouping:  George Jergenson (in 1960) and George Martin (in 1977).  Both men are posed with students “working” on an already completed model.

Although many photographs document clay models after modeling has been completed, but before any other finishing touches have been added, most of the images of models capture the work at its most final stage:  painted and detailed to appear like a real car.   A few images are not of student designed models at all, but are of actual commercially produced cars, such as photographs from the 1960s showing taped contour lines on contemporary cars of the time.   Generally, student models from the 1950s and 1960s are better documented than the 1970s or 1980s; and for the 1990s, there are only a handful of images.

There are more photographs of renderings, than photographs of models in the Transportation Student Work images.  Some from almost every decade are full scale, but there are more of this type of rendering from the 1960s than the other decades.  The renderings and illustrations range from details of a car’s dash board, to series of drawings of a car exterior from numerous angles, to depictions of automobiles parked by a building or some other marker of scale.  The majority of the drawings, however, are simply rendered profiles of automobiles without backgrounds, interiors, or multiple views.

Images documenting Competitions (1962-1968, 75 images), Special Projects (1973-1982, 422 images), and Sponsored Projects (1960-1994, 6,920 images) highlight Art Center’s involvement with outside organizations and corporations, and show student assignments with particular design focuses.  Of these three sub-series, Competitions (1962-1968) is the smallest.  Only two competitions are actually documented:  Motor Trend (1962) and two years for the Fisher Body contest (1963 and 1968).  The photographs depict winning students posed with their work, sometimes with faculty, and sometimes with the sponsor of the contest.  The Fisher Body Award photographs from 1963, for example, include images of Plant Manager Edward Legant giving the winning student Roy R. Dicky (Transportation major, 1964) his award.
Transportation Special Projects (1973-1982, 422 images) document particular classroom assignments that were not sponsored by an organization or company, but represent unusual assignments such as remote telecast vehicles, train seating, and high speed trains.  Most of the images include students working on their projects as well as their final renderings or models. Of note are photographs documenting J. Mays (Transportation major, 1980) aerodynamic project in 1980.  The 1984 high speed train assignment was interdisciplinary, and Transportation students worked with Product, Environmental and Graphics majors to generate their designs.

Sponsored Projects (1960-1994, 6,920 images) is the largest sub-series in all of the photographs documenting Art Center College of Design’s California campuses.  Arranged alphabetically by sponsor, the photographs range in date from the first year Art Center received outside assignments in 1960, to 1994.  They bulk, however between 1960 and 1989.  The images document Art Center’s growing relationship with automobile companies throughout the world, and by extension, highlight changes in the world market:  in the 1960s, there are photographs of assignments given by American car companies only; by the 1980s the documented projects are from companies all over the world, including Japan, France, Sweden, and Germany.

Despite the fact that the assignments are almost exclusively for automobiles and their components, camper and truck assignments are the exception to the rule, and there is nonetheless a wide variety in the assignments.  Automobile assignments range from revamping a company’s entire product line, to redesigning a company’s current model, to zeroing in on specific features of the interior, to imagining new forms of mini-cars.
The first assignment from an automobile company was given by General Motors in 1960 (the very first sponsored project at Art Center was assigned earlier in 1960 by General Electric to Product Design majors).  The GM Turbine Car project is by far the best documented one in all of Transportation’s Sponsored Projects.  Images include students working on their initial designs, making full scale renderings with air brushes and yarn, consulting with Industrial Design department head George Jergenson as they work, installing the designs in the auditorium, practicing their final presentations to Mr. Jergenson, and finally, giving their presentations to representatives from General Motors (Chuck Jordan, Edward Glowake, George Pollard and Don Hoag).

Generally, Sponsored Projects are documented with photographs of renderings and/or models.  More often than not, images also highlight the final presentation to the sponsoring company.  Photographs of projects done during the 1960s usually also include shots of representatives assigning the project, students working on their models or renderings, consulting with faculty (George Jergenson and Strother MacMinn appear in numerous photographs), receiving an interim critique of their renderings from the sponsor part-way through the term, and the final presentation of renderings and models to the sponsor.

Art Center’s relationship with American car companies Chrysler, General Motors, and Ford is particularly well documented.  Projects from both GM and Ford date from the early 1960s through the late 1980s.  Visits by well known designers and executives from both companies to assign and critique the project are well documented.  Some of the men who are in numerous photographs include:  Edward Glowake, Chuck Jordan, George Pollard, and William Porter of GM.  [Additional images of automotive visitors who were at Art Center for other reasons than a sponsored project are filed under People: Visitors].  There are fewer images documenting Chrysler’s projects than for GM and Ford, as its first assignment was given in 1971, about 10 years later than the other companies. 

Although the Transportation Design images depict forward thinking designs, they also highlight the specific design ethos of the era in which the students were working.  As a result, general trends and changes in automobile design from the late 1940s through the early 1990s are well documented in the Transportation Design photographs. 

A more subtle change to automobile design is also documented in the Transportation Design images: the actual physical process of executing car designs.  From the 1940s through the mid 1960s, curves in renderings of automobiles were executed by sweeping with air brushes using a French curve as a guide.  This technique is depicted in hundreds of photographs in the Transportation images.  Beginning in the late 1950s, however, designers began to use photographer’s black tape to create their drawings, as the tape allows for tighter curves.  This change is documented in the Transportation photographs, and images dated after the early 1960s do depict tape drawings, although students also continued to execute air brushed renderings.  An additional technique to execute curves experimented with from late 1950s to the early 1960s was yarn over push-pins.  This technique is also documented in the Transportation photographs.

Another change to the execution of automobile design documented in the Transportation photographs is a shift from the creation of full scale complete models to smaller 1/5th and 1/8th models.  While full scale models featuring doors, a final paint job, and wheels are documented in some early images dating from the 1950s, there are very few full scale, fully executed models from any other decade.  However, students working on full scale “space bucks” (framed models used to represent spatial relationships inside the automobile design), are documented throughout most of the date range (1950s through 1980s).  Full scale air brush renderings are also documented across almost the entire span of dates as well (ca. 1948-1995).

Required Coursework, ca. 1950-1968, 1985 (915 images)

Foundation Studies, 1955-1967, ca. 1975, 1985 (385 images)

In Foundation Studies, photographs of both the instructors and students in classroom settings document basic design and color instruction for just over a 10 year period (1955-1967) with only one negative dating from 1950.  Slides of Mary Vartikian critiquing student color work in 1985, and oversized prints of Theodore Youngkin teaching perspective in ca. 1975, are the only images in this series dating later than 1967.  The bulk of the images documents the educational process, with photographs of Bernyce Polifka’s design classes and her students’ work forming the largest group. Other faculty include both Eugene Fluery and George Harris working with basic design students, and Albert King instructing students in color theory.  Additionally, some images of final student work showcase the type of basic projects assigned in these foundation courses.  

Liberal Arts and Sciences, ca. 1950-1968, ca. 1984 (530 images)

The Liberal Arts and Sciences courses are documented by images of instructors and students in the classroom setting (ca. 1950-1968, ca. 1984).  While images highlight classes being held both inside and outside at the Third Street campus, there are no images from the Seventh street campus, and only one from the Pasadena campus.  The images within each area of study are arranged alphabetically by the teachers’ last names.  Faculty documented while teaching in the Liberal Arts and Sciences include the following: Jacki Apple (Art History), Sims Carter (Philosphy), David Dingilian (Psychology), Lorser Feitelson (Art History), Herman Harvey (Psychology) John Isherwood (Science), Joseph Laitin (History), Robert Lindberg (Science), A. Douglas Mcrae (English), John McSweeney (English), J. T. Schwafel (Economics), and John Snyder (History).

Electives, 1985-1997 (1,400 images)

Computer Graphics, 1985-1997 (1,400 images)

There are very few images documenting the Classroom Setting (ca. 1984, ca. 1990, 50 images) and the bulk of the images are slides and color prints of Student Work (1986-1997, 1350 images).  Although the software used to create the designs is not documented, the photographs nevertheless provide insight into some of the earliest designs executed with emerging computer technologies in the mid 1990s.  Unlike most images of Student Work in the Founding Photograph Collection, the majority of the Computer Graphics images have a student name associated with the work.  The only identified faculty member is Hugh Dubberly.

Non Degree programs, ca. 1950, 1986 (115 images)

Public Programs, ca. 1950, 1986 (115 images)

Art Center’s Public Programs, which are separate from the academic majors, are not well documented.  There are a handful of negatives showing Mary Sheridan teaching a classroom of high school scholarship students during a six week class (ca. 1950) and contact prints of students posed for the camera in a Saturday High illustration class (1986).

Unidentified Major or Program, ca. 1935-ca. 1990 (360 images)

This series contains photographs that could not be verified as documenting a particular major or program during original processing, although some may later be identified.  Classroom Setting (ca. 1935-ca. 1990, 50 images) images show students listening to unidentified faculty lecturing, as well as working on unidentifiable projects.  The photographs of Student Work (ca. 1955, 1968, ca. 1990, 25 images) are small in number but about half are slides of a student posed with something designed in response to the following assignment “stationary primary school furniture with a stagnate use of visible surface areas and storage possibilities” (1968).  Special Projects (1947, 1975-1980, 285 images) that could not be associated with a major include a dance production in the Auditorium at the Third Street Campus (1947); a series of images of students in masks (ca. 1975); slides of what may be students and faculty brainstorming for a Mass Transit project (1978); images of students with painted faces titled “Carol Kiefer ‘Faces’” (1979); and photographs of the inventor Buckminster Fuller, students, and Donald Kubly with one of Fuller’s Fly’s Eye domes installed on campus (1980).

Employees, ca. 1935-1997 (3,430 images)

Administrators and Staff, ca. 1941-ca. 1997 (1,020 images)

Photographs of Art Center’s administrative staff and first three presidents document some of the people who have shaped the college during the first 65 years of its history (1941-ca.1997, 1,020 images).  Images of Art Center’s presidents (1947-ca. 1997, 610 images) are mostly formal portraits intended for publication, but there are some less formal images of all three men as well.  Images of the first president, Edward A. Adams, span from about 1947 to 1975 (100 images) and include photographs of him giving critiques in Advertising classes.  While nearly all of the photographs of the college’s second president Donald Kubly are formal portraits (1963-ca.1985, 430 images), additional images show him with various guests to the college.  There are more photographs of Kubly than the other presidents, but this is mainly due to the fact that there are numerous complete photo shoots of him posing for publicity portraits.  Images of David R. Brown, Art Center’s third president, mainly consist of publicity shots and date from ca. 1986 to ca. 1997 (80 images).  One notable, and less formal, photograph of Brown shows him tossing a large orange ball, taken at about the same time Art Center reintroduced the orange dot into its logo (ca.1990).

Like the photographs of the presidents, most of the images of Art Center staff are formal portraits (ca. 1941-1993, 410 images).  Arranged alphabetically by last name, the photographs bulk between 1949 and 1969.  There are not photographs from the 1970s.  While the images give some insight into who worked at Art Center for about 50 years, this series is by no means a complete documentation of staff employed by the college.

Faculty, ca. 1935, ca. 1943-1992 (2,200 images)

Faculty photographs have been arranged alphabetically by last name with the bulk of the images dating from the 1950s.  The earliest photograph, and the only one from the 1930s, is of Photography Department Chair Will Connell (ca. 1935).  For many of the late 1950s images, there are both slides and black and white negatives of the faculty members posed for the camera.  Although the bulk of the images are formal portraits, some images show various faculty members giving critiques or lecturing in class. Unlike the Classroom Setting images in the various Academic Majors, these images were taken specifically to document the faculty member.  Although not every person who taught at Art Center from its founding through 1992 is included in this series, it does document nearly all the faculty who taught for a significant number of years.

Groups Faculty and Staff Together, ca. 1940-ca. 1994 (185 images)

Mostly posed portraits for use in publications, the photographs of faculty, board members, and department chairs are few in number, despite the fact that they date from over a fifty-year time frame (ca. 1940-ca.1994, 185 images).  One notable image is a group photograph of nearly all staff and faculty in about 1940, as they pose around a banquet table. 

Family of Faculty and Staff, 1945-ca. 1966 (25 images)

A very small sub-series, the Family of Faculty and Staff images are portraits of three different Art Center staff’s family members: President, Edward A. Adams’ wife and his daughter (ca. 1945); Industrial Design instructor, Theodore Youngkin’s daughter (ca. 1966); and Coordinator, Archie Wedemeyer’s daughter (ca. 1950).  It is unclear why these images were made, but probably for the personal use of the family.

Students, ca. 1950-ca. 1995 (6,830 images)

Unlike images of students in the various majors’ Classroom Setting photographs, images of Students (ca. 1950-ca. 1995, 6,830 images) within the People series were not taken to document their work, or to document the educational activity of the college, but to document the students themselves.  The images are primarily formal portraits, although there are a number of casual images as well.  The photographs are arranged into the following sub-series:  Graduation Portraits (ca. 1950-1974, 5,020 images); New Students (1960-1961, 430 images); Scholarship Students (ca. 1952-1967, 380 images); Visiting Students from Japan (ca. 1955, 1981, 75 images); Illustration students (ca. 1950, 60 images); Assorted Portraits (ca. 1950-ca.1996, 815 images); and Group Portraits (1965-1987, 50 images).

Graduation Portraits (ca. 1950-1974, 5,020 images)

Although Graduation Portraits is far and above the largest group of images within the People: Students series, most of the students in their graduation portraits are unidentified.  In almost all of the photographs, individual students are posed with an example of their student work.  The photographs have been arranged chronologically by year and then by term.  The photographer’s roll sheet is sometimes included with a term’s worth of graduation photographs, providing names but without a means to match the names to faces.  In cases where students have been identified within a term, the photographs have been further sorted alphabetically by last name. Women who may have changed to a married name after graduating are filed under their maiden name.  

Art Center began to award degrees in 1949, but the Graduation Portrait subseries contains only a few images from Art Center’s earliest graduating students before 1955.  Additionally, there are some images of graduating students from the early 1960s, but the bulk of the graduation portraits date from Fall Term, 1969 through the end of 1974. Some of the earlier graduation portraits appear to have been taken for submission to the student’s home town newspaper announcing their graduation from Art Center.  Later images (1969-1974) seem to have been taken not for publicity purposes, but as a gift to the graduating student.

New Student Portraits, 1960-1961 (430 images)

Depicting students working in class, these photographs were all identified as “new students” in school photographer Geoffrey Fulton’s work log.  The photographs only document new students for the 1960-1961 school year.

Scholarship Students, ca. 1952-1967 (380 images)

Original labeling identified the majority of these images as “scholarship students” without additional information regarding student names, or what scholarship had been awarded.  The majority depict unidentified students working on projects in class.  A few of the earliest photographs (1950) show various students shaking hands with college President, Edward A. Adams.  Only in images identified as “Ford Scholarship,” have the students been identified. The scholarship photos have been arranged chronologically, with the Ford Scholarship students alphabetical by last name.

Visiting Students from Japan, 1956, 1981 (75 images)

About one quarter of the images of visiting Japanese students document an important moment in Art Center’s history.  After WWII, the Japanese External Trade Recovery Organization (JETRO) sent students to Art Center to study industrial design.  Beginning a long tradition of Japanese students attending Art Center, the first four students attended Art Center between 1955-1957.  Twelve photographs document the students as they attended classes, worked on models, and visited Japanese businesses in Los Angeles.  Included are photographs of visits with the Consul General of Japan (Mr. Nakamura) and the Chief of the Ministry of International Trade Industry (Mr. Mazda).

Nearly 15 years later, another tradition was started.  For most of the early 1980s, graphic and interior design students from Tama Art University in Tokyo, Japan, enrolled in a three week course every summer.  Color slides (62 images) document students visiting classes as well as a field trip to Malibu beach during the summer of 1981.

Illustration Students, ca. 1952 (60 images)

Original information for this group of negatives labeled them as “Illustration Students,” but without identifying individual students.  The photographs document individual students, as well as groups of students, posed at easels on the Third Street campus lawn.  They are most likely high school students attending summer illustration classes held by Art Center.  Almnus Howard Miereanu (Transportation major, 1959) is the only identified student.

Assorted Portraits, ca. 1950-ca.1996 (815 images)

Arranged into Identified students (1960-1969, 1984-1986, 235 images) and Unidentified students (ca. 1950-ca. 1996, 580 images), the photographs in Assorted Portraits document students in various formal and informal poses.  The identified student portraits are mostly images taken of students for publicity reasons.  In addition, images from 1969 are of contest winners, although the contest is unidentified. The Unidentified students sub-series encompasses portraits and other images of students who were not identified, and for which the purpose of the photograph was not clear.

Group Portraits, 1965-1987 (50 images)

The smallest number of images within the Students series, Group Portraits document students posed together and are dated 1965, 1968, ca. 1974, and ca. 1987.  All of the 1987 photographs are of graduating students by major, and were used for publication on graduation posters.

Visitors/Guests, ca. 1947-1994 (3,785 images)

Art Center’s interaction with guests, especially leaders in the design and art community, is well documented (ca. 1947-1994, 3,785 images).  The largest group of images in this series is Lecturers and Individuals (ca. 1947-1990, 2,070 images), and it is arranged alphabetically.  The images provide insight into the number and variety of guest speakers hosted by the college, but do not include visitors from the Automobile Industry, which are grouped separately.  In addition to photographers, artists, graphic designers, illustrators, industrial designers, and advertising directors, the images include visitors such as Jean Michel Coustaeu, Margaret Meade, and Ray Bradbury.  Some guests are shown lecturing in the auditorium, others critiquing student work in the classroom, and still others speaking to small groups of students. 

The second largest group of images in Visitors/Guests is Automotive Corporations and Subsidiaries (ca. 1947-1970, 1980, 1984, 1,030 images).  The best documented is General Motors, reflecting the strong relationship between Art Center and G.M. during the 1960s.  GM’s Chief of Styling, William “Bill” Mitchell, visited almost annually from 1960 to 1966, while there are photographs of only one visit by Harley Earl (1960). Other companies and subsidiaries represented include: Buick, Chrysler, Fisher Body, Ford, Lincoln, Pontiac, and Toyota.  There are only photographs from one visit in the 1970s (from Pontiac), and very few from the 1980s (General Motors, Toyota, and Citroen).  Images which document companies assigning sponsored projects, or reviewing a final presentation for a sponsored project, are found within the related major’s Sponsored Projects sub-series.

In addition to images of Guest Speakers and Automotive Visitors, portraits of Graduation Speakers add further insight into the types of visitors hosted by Art Center (ca. 1967-1984, 25 images).  The formal portraits found in this series were probably submitted by the speakers to Art Center, and were not photographed by Art Center.  Unlike nearly all of the other photographs in the Founding Photograph Collection, the college does not own copyright to these images.   In addition, there are only a small number of speakers represented, and the portraits do not document the speakers giving their lectures at commencement.  Such photographs are part of the Events: Graduation series.

Visits to Art Center by groups of international designers, Educational Committees, and Fullbright scholars are also documented in Organizations/Groups (1950-1994, 195 images).  Of particular interest were visits made by Alumnae of the Cumnock School for Girls in 1966 (Art Center bought the Third Street campus from Cumnock), and representatives from the Kyoto Prefecture in Japan in 1994.

A fair number of images documents local television stations’ visits to record news stories on Art Center (1950-1978, 115 images).

The smallest group of images in Visitors/Guests documents Unidentified Visitors giving speeches, touring the campuses, and visiting with students (ca. 1947-1980, 95 images). 

Unidentified, ca. 1950-ca. 1985 (80 images)

Images of people for which absolutely no identification information could be determined, are arranged in the Unidentified People series (ca. 1950-ca. 1985, 80 images).  Some photographs may document alumni at their work place, some may show faculty or staff who worked at Art Center for a very short time, and some may highlight graduation speakers or other guest lecturers.  About half of the photographs date from circa 1950, the other half from the 1960s.  There are only a handful from the 1970s and 1980s.

Campuses, ca. 1937- ca. 1992 (4,055 images)

Images of the first three Art Center campuses (Seventh Street, Third Street, and the Ellwood Building in Pasadena) are arranged into two sub-series: Buildings (ca. 1937-1980, ca. 1991, 2,040 images) and Campus Scenes (ca. 1937, ca. 1950-ca. 1992, 2,015 images).  Generally, images in the Buildings series document the structures of the campus, and do not include people.  There are only two images of the Seventh Street campus buildings, and one of them was taken long after Art Center had left that location (ca. 1980).  The Third Street buildings are better documented, but most of the images are of the front of the school (ca. 1946-ca. 1976, 80 images), including some with students posed on the front lawn.  By far, the best documented building is the Ellwood building of the Pasadena Campus.  There are six times as many images of the Pasadena hilltop campus than of the two earlier Los Angeles campuses.  Not only are there photographs of the various models of the planned school (ca. 1971-ca. 1989, 170 images), but there are also photographs of the earthmoving carried out to reshape the mountain side (1974), construction of the original building (1975), the completed building (1976-1995), the construction of the south extension (ca. 1990, 5 images), and the conversion of the atrium into the Williamson Gallery (ca. 1991, 50 images).  There are about as many images of the earthmoving and construction of the Ellwood building (880 images) as there are of the completed building (850 images).  Note: images documenting groundbreakings and other construction related events for the Pasadena campus are filed under Events.

Unlike the majority of the Campus Building images, photographs documenting Campus Scenes capture the students, faculty and staff as they utilized the campuses other than in educational activities (ca. 1937, ca. 1950-ca. 1992, 2,015 images).  Scenes include students in the cafeteria at both the Third Street (ca. 1950-ca. 1975, 890 images) and Ellwood buildings (1976-ca. 1992, 1,125 images), students and faculty socializing in the courtyards at the Third and Seventh Street campuses, and students walking through the Third Street and Pasadena campuses.  There are only 2 images of scenes of the Seventh Street campus (ca. 1937). A sizeable number of images of the Third Street campus were taken by photography students during the mid 1960s.  The majority of these were shot by Walter B. “Steve” Stevenson (Photography major, 1966).  Additional images of Third Street campus scenes include photographs taken specifically for use in the Night School brochure (1967, 330 images) and document the school at night.  Campus Scene images of the Pasadena campus (1976-ca. 1992, 1,125 images) are significantly more numerous than for the Seventh and Third Street campuses.  This is partially due to the fact that a large photo shoot of perhaps a single day, or a single week, at Art Center is arranged in this series (ca. 1981, 810 images).  The images, from about 1981, appear to have all been taken by a single photographer in an effort to capture the variety of classes and activities at the college, as well as the campus itself.  The photographer is unidentified, and apparently none of the images were used for publication. 

Events, ca. 1947-2002 (4,170 images)

A wide range of events such as corporate donations, faculty retirements, and organizational conferences, are documented in this series (ca. 1947-2002, 4,170 images).  While there is a great deal of variety, more than one third of the images documents a single event; by far, the best documented event is Graduation (ca. 1959-1988, 1995, 1,570 images).  Photographs of graduation include the commencement speaker at the podium, the speaker touring campus, students receiving their diplomas (but not all students), and the reception afterwards.  As with other groups in the Founding Photograph Collection, the 1960s are well documented, but there are no photographs of graduations dating from 1971-1973, and the 1970s are generally slim.  Additionally, the Summer 1995 graduation ceremony is the only one from the 1990s.  Formal portraits of the graduation speakers are arranged in the People series.

Images documenting other events than graduation make up about two thirds of this series, and sub-series vary from only 75 images to over 600.  Photographs of Christmas Events (1959-1984, 120 images), Staff parties and Events (1956-1988, 585 images), Student Events (1947-1986, 290 images), and Various Events (1947-2002, 270 images) highlight social activities at Art Center.  Groundbreakings and other construction related events (1974, 1976, 1989, 2001, 610 images), especially regarding the Ellwood building, provide insight into the Art Center community’s excitement about the new campus.  About half of the images of Corporate Donations document formal acceptance of the gift, including gifts from Japanese automobile companies, while the other half document donors simply handing checks to Art Center staff (1965-1989, 155 images).  Informal photographs of a fundraising dinner dance (1987) and a donor recognition dinner (1988) give some insight into Advancement events in the late 1980s (75 images).  Only Meetings and Conferences held at Art Center while it was on Third Street are documented (1948-1970, 495 images) and include such meetings as the Color Society (1948), a luncheon with NASA representatives (1969), a meeting of the Women’s Chamber of Commerce (1968), and a conference of the American Society of Industrial Design (1960).  The most recent photographs in the Founding Photograph Collection overall (Lalla Lezli memorial, 2002) are filed in Various Events (1947-2002, 270 images).  Other noteworthy photographs arranged in Various Events include: a photography shoot of all departments holding class in the courtyard (ca. 1950), a reception for Photographer Ansel Adams with Photography students (1977), and Architect Richard Neutra at an unidentified event (ca. 1965).

Exhibits, ca. 1945-1991 (1,240 images)

Nearly three quarters of the Exhibits images highlight Art Center’s effort to expose its students to contemporary trends in art and design.  Visiting Exhibits (ca.1950-1987, 705 images) and images of the Sculpture Garden (1981-1991, 305 images) provide insight into the types of art and design work students were invited to study on campus.  Installed exhibits and the opening receptions form the majority of these exhibit images, but for some there are portraits of the exhibited art work.  Shows of paintings and sculptures are the majority, but photography, graphic design, and product design are also represented.  The exhibits are arranged chronologically and the artist is not always identified.  (Please note that Art Center does not own copyright to portraits of visiting artists’ works.)

Images documenting Student Exhibits bulk from 1959 to 1977, and showcase exhibits in the student galleries at both the Third Street and Pasadena campuses (ca. 1945-ca. 1990, 205 images).  Most of the images incorporate swaths of the gallery, and do not zoom in on particular student work.  Almost all of the photographs include people examining the exhibit. 

Only two faculty members’ exhibits are recorded in the photographs.  Both appear to be the opening receptions for well known Photographers on Art Center’s faculty: George Hoyningen-Huene’s exhibit in 1947, and Will Connell’s exhibit in 1962 (total 25 images).

Faculty Work, ca. 1947-1950 (75 images)

The smallest series overall, the Faculty Work images provide some insight into work done by individual faculty Virginia Legakes Adams, Strother MacMinn and Palmer Schoppe (ca. 1947-1949, 35 images), as well as two group projects undertaken by Art Center faculty (1950, 40 images).   Photographs of Adams’ hands as she works on a scratchboard illustration highlight her technique, as well as images of finished designs (1949-1950, 19 images).  Oddly, a few of the images were used in the 1950-51 Art Center catalog to represent a student at work.   A single copy print of a flying car Strother MacMinn worked on with the Vultee Aircraft company (ca. 1947) gives a look at his professional work before he started to teach at Art Center.  Black and white negatives (1949, 16 images) of paintings by Schoppe provide a look at his style and skill. 

Two different group projects, both dating from about 1950, are interesting peaks at the professional work of Art Center faculty.  Richard Ham and George Hoyningen-Heune worked on an instructional movie explaining all the phases of creating a fashion photography layout for a magazine (10 images).  Images of Bernyce Polifka, Palmer Schoppe, and Eugene Fleury designing and installing murals and outdoor sculptures for the Hollywood Park race track document their group effort (30 images).

Catalogs/Publications (copy work), 1960s-1990s (70 images)

Copy images of Art Center publications and catalogs primarily from the 1940s-1960s and 1980s were mostly made in the 1960s and 1990s for use in assorted publications.  One significant exception is a slide of a poster for an Antonio illustration workshop (1983).

Slide Shows, 1958- ca. 1990 (1,175 images)

Two types of slide shows can be found in this small series:  presentations on Art Center (423 images) and research presentations (747 images).  The Art Center slide shows provide insight into how the school showcased itself to outside audiences.  Please note that for most of these presentations, the slides are duplicates of images arranged under other headings within the Founding Photograph Collection.  Research presentations highlight an information gathering trip by faculty to the Brussels Worlds Fair in 1958, and 2 presentations given at the college by guest lecturers.

Assorted, ca. 1935-ca. 1995 (180 images)

This very small group of images do not clearly relate to any other series in the Founding Photograph Collection.  They are arranged chronologically.  Images of note are of American Designers Inc. (1951), a company owned briefly by Art Center, and color photographs of an orange inflated ball (ca. 1990) representing Art Center’s “Dot,”

Additional Information - Photo Arrangement

Advertising, 1947-1988 (1,235 images)

  • Classroom Setting, 1947- 1968, ca. 1984-ca. 1985 (820 images)
  • Student Work, 1950-ca. 1990 (385 images)
  • Competitions, 1949-1961, 1985 (35 images)
    • Western Advertising Poster Competition, 1949
    • Women’s Advertising Club [of Los Angeles?] 1961
    • Unidentified Advertising Competition, 1985 (20 slides)

Environmental Design, ca. 1945-1990 (3,480 images)

  • Classroom Setting, ca. 1945- ca. 1990 (1,060 images)
  • Student Work, ca. 1945- ca. 1990 (2,030 images)
  • Competitions, 1965-1966, 1987 (190 images)
    • Interior Decorating [contest?], 1965
    • ASID competition, 1966
    • Honda corporate sculpture competition, 1987
  • Sponsored Projects, 1972-1987 (200 images)
    • “Picture Me” Readiness for Learning Program, 1972
    • American Bus Shelter Corporation, 1981
    • Haworth, [office and folding chairs], 1985
    • Haworth, Mobile Automated Territorial Things (MATT) [office  environment of the future], 1985
    • I Magnun, Magnun Park  1985 [Joint project with Graphics?]
    • Red Cross Station, ca. 1985
    • U.S. Space Station, ca. 1985
    • Weber Aircraft, 1987\

Film, ca. 1947-ca. 1994 (640 images)

  • Classroom Setting, ca. 1947-ca. 1985 (570 images)
  •  Student Work [stills], ca. 1990, ca. 1994 (70 images)

Fine Art, 1950-1994 (1,680 images)

  • Classroom Setting, 1950-1994 (1,045 images)
  • Student Work, ca. 1955-ca. 1990 (635 images)

Graphics and Packaging, 1945-ca.1992 (3,280 images)

  • Classroom Setting, 1945-ca. 1992 (1,295 images)
  • Student Work, 1950- ca. 1990 (1,330 images)
  • Competitions, ca. 1955-1987 (380 images)
    • Unidentified contest, ca. 1948
    • Los Angeles Art Directors Club Contest, ca. 1955
    • Student and his prize-winning poster for United Nations, ca. 1955
    • St. Regis Paper Packaging Contest, 1964-1968
    • Champion Paper [packaging] Contest, 1968
    • Mental Health Association [poster contest?], ca. 1970
    • St. Regis Paper Co. High Protein Snack marketing and packaging  contest, 1971 [with Advertising]
    • Spectrolab “Save Energy” poster contest, 1974
    • Schechter Group “Package Designer of Tomorrow” Competition,  Campbell’s Eezy Soup, ca. 1980
    • Bitter Auto Co. Competition, 1984 [with Illustration and Advertising]
    • German Wine Information Bureau Logo Competition, 1987
    • Public Graphics Projects, 1978-1980 (130 images)
    • Los Angeles Zoo, Public Graphics Project, 1978
    • Burbank Airport, Public Graphics Project, 1979
    • UCLA Hospital, Public Graphics Project, ca. 1980
  • Sponsored Projects, 1975-1985 (145 images)
    • Bristol Myers Deodorant Packaging, 1975 [with Product]
    • Nestle logo, 1983 [probably sponsored]
    • Pippenhill/Kiddyland, logo and packaging, 1985

Illustration, ca. 1935-1987 (4,680 images)

  • Classroom Setting, ca. 1935-ca. 1985 (2,305 images)
  • Student Work, ca. 1948-1984 (1,465 images)
  • Technical Illustration, ca. 1950-1952 (45 images)
  • Competitions, ca. 1950-1987  (225 images)
    • Goday Scholarship competition, ca. 1950
    • FilmEx poster competition, ca. 1980
    • HISK poster competition, 1980 (HISK = Hagmann, Impastato, Stephens & Kerns)
    • Design Helsinki, “Design for Safety” poster competition, 1981
    • FilmEx poster competition, 1982
    • Society of Illustrators annual competition, 1983
    • San Fernando Daily News “Los Angeles, A World of Difference”  poster competition, 1983 [with Advertising]
    • Pasadena Playhouse, poster competition, 1984
    • World Animation, poster competition, 1985
    • Tele-com, catalog cover competition, 1985
    • Image 1985, Mirage Editions Inc.  poster competition, 1985
    • National Symphony, poster competition, 1985
    • Victims for Victims, poster competition, 1985
    • Herbert Nadel AIA and Partners, New Years greeting, 1985  [with Graphics]
    • Illustration Department, “End Hunger Project” poster competition, 1985
    • American Ballet Theater, poster competition, 1986
    • California Music Theatre, [poster competition], 1987
    • Michael McCabe Design Associates, Miller Children’s Hospital poster competition, 1987
    • The Mary Pickford Foundation, “Wings” poster competition, 1987  [wih Graphics]
    • Boston Film Group, “Cinetex ’88” poster competition, 1987
  • Special Projects, 1969 (45 images)
    • Salvation Army
  • Workshops, 1964, 1985-1987 (595 images)
    • Putman illustration class, visiting illustrators, Gaughin set, 1964
    • Antonio Lopez illustration workshop, 1985
    • “Punk Is Not A Fashion Statement,” illustration workshop, 1986
    • George Stavrino’s illustration workshop, 1987

Photography, ca. 1935-1990 (4,570 images)           

  • Classroom Setting, ca. 1935-1990 (2,975 images)
  • Student Work, 1943-1988 (425 images)
  • Competitions, ca. 1945 (15 images)
    • Popular Photography, ca. 1945
  • Special Projects ca. 1949-1964 (740 images)
    • Staging of “Carmen” at various locations, George Hoynigen-Huene directing, ca. 1949
    • Staging of “Salome” in auditorium, George Hoynigen-Huene directing, ca. 1949
    • Book on Mexico, Charlie Potts class, ca. 1950
    • U.S. History Exhibit, 1964 [with Advertising]
  • Sponsored Projects, 1985 (300 images)
    • Visual campaign for launch of Ford Taurus, 1985 [with Graphics]
    • Unidentified photo shoots, ca.  1945- ca. 1960 (115 images)
      • 2 Models, Student, and Fabric, ca. 1945       
        Models in different poses, with a different student in each pose [did each student set the pose?  Probably a photo assignment]
      • Family in pajamas in a classroom, ca. 1945   
        Grandma and Grandpa, Mom and Dad, Son and Daughter [Probably a set-up for a photo assignment]
      • “Co-Op Story,” ca. 1948
        ‘Day in the life’ type photo shoot of students living in a house together, probably overseen by Larry Frost (PHOT 1951) [Probably a photo assignment given by Will Connell]
      • “Cramer Job,” 1948   
        Models posed in a classroom to tell story of a couple on vacation [?]  [Probably a photo assignment]
      • “Chic Couple,” 1948  
        Models posed in a classroom to tell story of a couple at home [?] [Probably a photo assignment]
      • “Man Walking” for catalog, ca. 1960
        Man walking with portfolio; man walking with ruler, board, and drawing kit.  Used for 1962-64 schedule/brochure.

Product, ca. 1945-1995 (7,735 images)

  • Classroom Setting, ca. 1945-1989 (810 images)
  • Student Work, 1949-1995 (2,035 images)
  • Special Projects and Contests, 1949-1982 (1,325 images)
    • Cooking pots and other kitchen items, 1949
    • Salsbury Scooter, 1950
    • Airplane Seating, ca. 1955
    • Helicopter [single student’s project], 1957-1959
    • Alcoa contest, 1966
    • Aspen project, 1966   
    • Fire Plugs, 1970
    • Driver’s seat Project [Car? Airplane? Boat?] 1973
    • New applications for robot technology, 1982
      • Ectoskeleton Walker
      • Micro surgery workstation
      • Sponsored Projects, 1960-1988 (3,565 images)
      • Space Capsule [General Electric] 1960 (348 images)
      • Catalina water craft [for Industrial Design Society of America], 1961 (1,909 images)
      • Forklift [sponsor unknown], 1963
      • Television Camera [sponsor unknown], 1963
      • Exhibit trailer [sponsored by Los Angeles City Schools?] 1965
      • Alcoa products, 1967
      • Ford Earthmover, 1972
      • Beechcraft plane interiors, 1979
      • Buckminster Fuller Shower, 1980
      • PPG kitchen appliances, 1980           
      • Aladdin [food containers and other products], 1981
      • Texas Instruments, 1981
      • Fairchild Burns airplane seating, 1982-1983
      • American Standard bathroom of the future, 1983 [joint project with Environmental Design]
      • Carver boat, 1986
      • Coopervision [cooking equipment for camping?] 1986
      • Xerox Secretarial Office Systems, 1987
      • Kodak camera, 1988  

Transportation, ca. 1948-1994 (10,256 images)

  • Classroom Setting, ca. 1948-1989 (1,394 images)
  • Student Work, ca. 1948-ca. 1992 (853 images)
  • Competitions, 1962-1968 (134 images)
    • Motor Trend Contest Winners, 1962
    • Fisher Body Award, 1963
    • Fisher Body Award, 1968
    • Volvo, 5 passenger family car, 1972
  • Special Projects, 1962-1984 (512 images)
    • Mobile remote telecast vehicles, 1962
    • Class project “Los Angeles Transystem,” 1970
    • Class project “Seating Design,” 1973
    • Class project, “Automobile 1978,” 1973
    • Individual project, J. C. Mays (TRAN 1980) aerodynamic project, with testing done at Jet Propulsion Lab, 1980
    • Class Project, Train Seating, 1981
    • Class Project, Three-dimensional design procedure, 1982
    • Class Project, interdisciplinary train project [with Product, Environmental, and Graphics majors], 1984
  • Sponsored Projects [alphabetical order by sponsor], 1960-1994 (7,363 images)
    • AMC, 1984
      • Jeep [co-sponsored with Renault], 1984
    • Chrysler, 1971-1994
      • Automobile, 1971
      • Automobile, 1973
      • Instrument panel for 1985 luxury vehicle, 1977-78
      • Redesign entire product line for 1990 market, 1979
      • Automobile, 1986
      • Eagle mini van, 1987
      • Concepts for niche vehicles, 1990
      • People’s car Brazil, China, Russia, 1994
    • Citroen, 1981-1986
      • Automobile, 1981
      • Automobile, 1986
    • Ford, 1962-1990
      • Automobile, 1962
      • Automobile, 1963
      • Project Argonaut [camper], 1964-65
      • Automobile, 1966
      • Automobile, 1968
      • Low cost multi-purpose “world car” 1970
      • Four-door mini sedan and 2 passenger sports car, 1974
      • Mustang, 1976-77
      • Contemporary classic car [Lincoln], 1978
      • Stylized 2-passenger car 50 miles per hour, 50 miles per  gallon, 1980
      • Thunderbird, 1981
      • GT, 1983
      • Probe V-First for the 21st, 1984
      • Light pickup truck, 1986
      • Update Tempo/Topaz, 1986
      • Taurus/Sable, 1988
      • Mustang GT, 1990
    • General Motors, 1960-1989   
      • Turbine car, 1960
      • Car interior, 1961
      • Car interior, 1962-1963
      • Advanced Family vehicle, 1963-1964
      • Automobile, 1965
      • Automobile, 1967
      • Small recreational vehicle, 1968
      • Automobile, 1970
      • Irvine Project (transportation for a community), 1971-1972
      • Mini car, 1973
      • Energy efficient personal luxury vehicle, 1975
      • “GM 2000,” transportation products for year 2000, 1978
      • “California Comeback, decade 1990-2000,” 1981
      • Pace car for Indy World Series [sponsored with PPG Industries], 1982
      • “Lean Machine” automobile, 1983
      • Corvette interior, 1985
      • Pontiac Grand Am, 1985
      • Cadillac, 1986
      • Saturn, 1987
      • Small family vehicles for urban setting, 1989
    • Mazda, 1986, 1990
      • Pick-up, Sports car, “cross-over” vehicle, 1986
      • Luxury coupe, 1990
    • Mitsubishi, 1989
      • Sports car, 1989
    • NHTSA, 1984, 1986
      • Safety features, 1984
      • Car for senior drivers, 1986
    • Nissan, 1988
      • Maxima 2000, 1988
    • Porsche, 1985
      • 911, 1985
    • Prince, 1988
      • Vehicles integrating interior and exterior, 1988
    • Saab, 1983
      • Saab 900, 1983
    • Subaru, 1987
      • 4-wheel drive vehicles, 1987
    • Toyota, 1981, 1986
      • Family of cars for 1988-1990, 1981
      • MR2, 1986
    • Volkswagon, 1980
      • “Real World Car for 2000,” 1980
    • Volvo, 1989
      • 3 future classes of Volvo, 1989
    • Winnebago, 1977
      • Multi-purpose recreational vehicles for the 1980s, 1977

Foundation Studies, 1950-1967, 1985 (385 images)

  • Basic Design, 1950-1967 (369 images)
    • Classroom [by Faculty], 1950-1967
      • Fleury, Eugene 1960-1967
      • Harris, George ca. 1956
      • Polifka, Bernyce 1950-1956
    • Student Work, ca. 1960- ca. 1965
  • Color, ca. 1955-1960, 1985 (12 images)
    • Classroom [by Faculty], ca. 1955-1960, 1985
      • King, Albert ca. 1955-1960
      • Vartikian, Mary 1985
  • Perspective, ca. 1975 (4 images)
    • Classroom [by Faculty], ca.  1975
      • Youngkin, Theodore, ca. 1975

Liberal Arts and Sciences, Classroom Setting, ca. 1950-1968, ca. 1984 (530 images)

  • Art History, ca. 1955-1960, ca. 1984
    • Apple, Jacki, ca. 1984
    • Feitelson, Lorser ca. 1955-1960
  • Economics, 1950-1963
    • Schwafel, J. T. 1950-1963
  • English, ca. 1955-1963
    • Mcrae, A. Douglas 1963
    • McSweeney, John ca. 1955-1963
  • History, 1955-1963
    • Laitin, Joseph ca. 1955-1962
    • Snyder, John 1963
  • Philosophy, 1959-1965
    • Carter, Sims 1959-1965
  • Psychology, ca. 1952-1968
    • Dingilian, David ca. 1952-1968
    • Harvey, Herman 1967
  • Science, ca. 1959-1965
    • Isherwood, John 1965
    • Lindberg, Robert ca. 1959-ca. 1965
  • Unidentified subject area, ca. 1955-1956

Computer Graphics/Digital Media, 1985-1997 (1,400 images)

  • Classroom Setting, 1985 (50 images)
  • Student Work, 1986-1997 (1,350 images)

Public Programs [non-degree programs], ca. 1950, 1986 (115 images)

  • High School six week scholarship students with M. Sheridan, ca. 1950
  • Saturday High illustration class, ca. 1986

Unidentified Major/Program, ca. 1935-ca. 1990 (360 images)

  • Classroom Setting, ca. 1935-ca. 1990 (50 images)
  • Student Work, 1968-ca. 1990 (25 images)
  • Special Projects, 1947, 1975-1980 (285 images)
    • Production in auditorium, 1947 
    • Students in masks, ca. 1975
    • Mass Transit project [?] 1978
    • Students in face paint, Carol Kiefer “Faces,” 1979
    • Buckminster Fuller, Donald Kubly, Rober Stoller (Product major 1981) and Marta Salas-Porras (Advertising major 1981) with pieces of a fly’s eye dome, and constructed dome, 1980

Administrators/Staff, ca.1941-1997 (2,770)

  • Presidents, 1947-ca.1997 (610 images)
    • Adams, Edward A. “Tink” 1947-1975 (100 images)
    • Kubly, Donald, 1963-ca. 1985 (430 images)
    • Brown, David R. ca. 1986-ca. 1997(80 images)
  • Staff, ca. 1941- 1993 (410 images)
    • Adams, Marjorie (Registrar), ca. 1941, ca. 1945
    • Adams, Virginia Legakes (Programming [and faculty in the 40s and 50s]), 1966
    • Bahnsen, Uwe (Dir, Art Center Europe), ca. 1985
    • Bicos, Angelina (Art Store Manager), ca. 1958-59
    • Brucato, Margaret (various positions—administration), ca.  1980
    • Burdette, Marion (Controller), ca. 1958-59
    • Carlucci, first name? (Art Store), ca. 1958-59
    • Dangler, Dave (VP and Associate Development Dir.), 1969
    • Franklin, Elizabeth (Counselor [and faculty in the 30s-50s]), 1959, 1966
    • Greenberg, Ruth (Evening Registrar) , 1969
    • Hanak, Ed (Development Dir.), 1969
    • Heredeen, Mildred (Counselor [and faculty in 1960s]), ca. 1955, 1966
    • Hutchins, Judy (Evening Registrar), ca. 1955, 1959
    • Kerns, Fannie (Admissions), 1959 
    • Martell, Karla (Registrar), ca. 1949, ca. 1955, 1966
    • Niece, Bob (Evening Registrar [and faculty in the late 1960s]), 1966
    • Stapleton, Rosalie (Writer), ca. 1985
    • Thompson, John (Public Relations), ca. 1958-59, 1960
    • Tobin, Jan (Enrollment), ca. 1958-59
    • Wedemeyer, Archie (Coordinator, previously head of Art Department Pasadena Junior College), ca. 1949-50

Faculty, ca. 1935, ca. 1943-1992 (2,200 images)                 

  • Adams, Ansel, ca. 1943
  • Adams, Virginia Legakes, 1949, 1949-50, ca. 1959 [see also Staff]
  • Adams, William B., 1969
  • Adler, Allen, 1969
  • Alexander, Roy, 1966
  • Allen, Larry, [See Superfine, Laurence Allen]
  • Altoon, John, ca. 1958-59
  • Andersen, George, ca 1949-50
  • Anderson, John R. Jr., ca. 1958-59
  • Anderson, John, 1951
  • Asaro, John Robert, ca. 1966
  • Ashby, Gordon, 1959
  • Behmler, Rudy, 1969
  • Belton Oliver, Patricia, ca. 1992
  • Bennett, Walter, 1959, 1965
  • Bogart, Mel, ca. 1966
  • Boyle, James Neil, ca. 1966
  • Bradley, Tim, Chair, Photography Department, ca. 1992
  • Brewer, William, ca. 1958-59, 1959, 1965, 1969
  • Bronner, George, ca. 1949-50, 1959, ca. 1966
  • Brown, Reynold, ca. 1955, ca. 1958-59, 1965
  • Bue, John Sal, 1966
  • Buehrig, Gordon, 1966
  • Burden, Shirley, 1986
  • Burdick, Bruce, ca. 1966, 1969
  • Cameron, ? , ca. 1958-59 [NOT Carl Cameron Product major, 1957]
  • Cangioalosi, Russell, ca. 1966
  • Carmean, Harry, ca 1958-59, 1959, 1965
  • Carter, Sims, Academic Dean, 1959, 1964, 1966, 1969
  • Chambers, J.C., ca 1950
  • Clack, Henry, 1966
  • Cleveland, John, ca. 1966
  • Cohen, Phil, ca. 1966
  • Coleman, John Dee, ca. 1947-48, ca 1950, 1951, ca. 1960, 1965
  • Collier, Richard, 1959, ca. 1966
  • Connell, Will, ca. 1935, ca 1958-59
  • Cooling, A. Albert, ca. 1945, ca 1958-59, ca. 1966
  • Cottingham, Robert, 1969
  • Davis, Nelson, ca. 1966
  • Denhart, Thomas, 1966
  • Despard, Gene, 1969
  • Deutsch, Laurence, 1969
  • Dingilian, David, ca 1958-59, 1964, ca. 1966
  • Dion, Robert, ca. 1966
  • Donna, Mario, ca. 1966
  • Dreiband, Laurence, Chair, Fine Art Department, ca. 1984, ca. 1992
  • Eaton, C.K., Head Photography Department, 1950, ca 1955, 1960, ca. 1965
  • Edwards, Eugene, 1959, 1965, 1966
  • Eipper, Jack, ca 1958-59, 1959
  • Ellescas, Richard, 1969
  • Embroden, Morgan, ca. 1966
  • Engle, Raphael (“Ray”), ca. 1966
  • Epstein, Norman, 1969
  • Farrer, Joseph J., ca 1949-50, ca 1958-59, 1959. 1966
  • Faulkner, Lloyd Nelson, 1965
  • Feitelson, Lorser, Head, Fine Arts Department, ca 1945, 1952, 1959, 1965
  • Fiori, Armand, 1969
  • Flammer, Jay, ca. 1966
  • Fleury, Eugene, ca. 1950, ca 1955, ca. 1966
  • Flis, Frank, ca 1958-59, 1959
  • Franklin, Elizabeth, ca 1949-50, 1954 [see Staff also]
  • Fulton, Geoffrey, 1966
  • Gambino, Jerome, 1964, ca. 1966
  • Geuens, Jean-Pierre, 1969
  • Goldberg, Arthur, 1966
  • Goode, Rex, 1969
  • Goodman, David, 1969
  • Grace, Harry, 1969
  • Graeff, Frank, 1969
  • Grover, John, ca. 1966
  • Halmer, Otto, ca 1951-52, ca 1958-59, ca. 1959, 1966
  • Handler, Edward, 1969
  • Harris, George, ca 1955, ca 1956, 1959, 1965
  • Harris, Paul, 1959
  • Harrison, Norman, ca 1958-59
  • Harvey, Herman, 1966
  • Hattersly, Linn, 1966
  • Hauge, Paul, Chair, Graphics & Packaging Department, ca 1984, ca. 1985
  • Hays, Phil, Chair, Illustration Department, ca 1984, ca 1992
  • Hennigar, Robert, Chair, Computer Graphics Department, ca. 1992
  • Henninger, Joseph Morgan, Head Illustration Department, ca 1958-59, ca. 1966
  • Heredeen, Mildred, 1966
  • Hertz, Richard, Chair, Academic Studies and Liberal Arts & Sciences Department, ca. 1984, ca. 1992
  • Heubner, Richard, Chair, Illustration Department, 1969
  • Heuman, Werner, 1959, ca. 1966
  • Hill, Ronald, Chair, Industrial Design and Transportation Departments, ca. 1992
  • Holley, Frederick, 1969
  • Honnold, Douglas, ca. 1950
  • Hoyningen-Heune, George, 1949-50
  • Hutting, Richard, 1985
  • Hutton, Frederick, Chair, Photography Department, ca. 1984
  • Isherwood, John, 1964
  • Jergenson, George, Head, Industrial Design Department, ca 1947-48;,1949-50, ca 1955-56, 1956, 1959, 1965
  • Jordan, James, Chair, Film Department, 1959, 1966, 1969, ca 1984, ca 1989
  • Jorgenson, Hugh, 1965
  • Kaminski, ?, ca. 1966
  • Kaminski, Edward D., 1949-50, 1959
  • Kaplan, Charles, 1969
  • Keenon, Len, 1966
  • Kennedy, John, 1964, ca. 1966
  • Kerns, Frannie, ca 1949-50, ca 1958-59
  • King, Al, ca 1940, 1949-50, ca 1958-59, 1966
  • Klepa, Peter, 1966
  • Kratka, Charles, ca. 1955
  • Kysar, Edward, ca. 1958-59
  • Lacommare, Frank Richard, Ca. 1966
  • Lagatta, John, ca 1958-59, 1965
  • Lam, O. Dell, 1959, 1965
  • LaMarca, Raymond, 1969
  • Leach, Mortimer, ca 1958-59, 1959, 1963, ca. 1966
  • Leach, Sterling, 1949-50
  • Legakes, Virginia [See Adams, Virginia Legakes]
  • Leynnwood, Jack Leon, 1969
  • Lindberg, Robert, ca 1955, ca 1958-59, ca. 1966
  • Littlewood, John, Chair Advertising Department, ca. 1992
  • Loftsgordon, Donald, 1964
  • Lund, Deanna, 1966
  • Lustig, Alvin, ca 1947-48, 1949-50
  • MacGalliard, Wallace, ca 1958-59, 1962
  • Mackay, Frederick, ca 1958-59, 1959
  • MacMinn, Strother, 1949-50, ca 1958-59, 1960, 1965, 1966, ca 1970
  • Madden, Stephen, 1959, 1965
  • Marcus, Grant, ca 1958-59, 1966, ca. 1966
  • Martin, George, ca. 1966
  • Matsumoto, Bob, 1969
  • McSweeney, John, ca 1958-59, 1964, ca. 1966
  • Merrill, Julius Park, ca. 1966
  • Miho, James, ca. 1992
  • Miyatake, Robert, ca. 1966
  • Mooshian, Charles, ca 1958-59, 1959, ca. 1966
  • Morganelli, Dan, 1959, ca. 1966
  • Negron, David, 1969
  • Nelson, Gene, 1959, ca. 1966
  • Niece, Robert, ca. 1966
  • Novinska, Nina, ca. 1947, 1949-50, 1959, 1966
  • Odgers, James, 1969
  • Olsen, Ruth, ca 1958-59
  • Papa, David, 1964
  • Peake, Bob, ca. 1958-1959
  • Peterson, Robert, Chair Film Department, ca. 1992
  • Pettit, James Jr., ca 1958-59
  • Polifka, Bernyce, ca 1955-56, 1959, 1966
  • Potts, Charles, Chair, Photography Department, ca. 1947, 1949-50, 1959, ca. 1960, 1965, 1985
  • Putman, Donald, ca. 1966
  • Quenell, Midge, ca 1958-59, 1965
  • Quick, Hamilton, 1949-50, ca 1958-59
  • Ransom, Dale Wayne, 1966
  • Rappaport, George, 1959
  • Reckless, Stan, 1949-50
  • Redmond, Dorothea, ca. 1966
  • Reep, Edward, ca. 1947
  • Rice, Richard, 1966
  • Risser, J. Ray, 1966
  • Robbins, H Vincent, 1969
  • Rosenthal, Herb, 1959, 1966
  • Russell, Anthony, 1969
  • Ryder, Julian, ca. 1984, ca. 1985
  • Sanchez, Michael, 1966
  • Santschi, William, 1966
  • Schaefer, E. J., 1949-50, 1959
  • Schlessinger, Philip, 1964, ca. 1966
  • Schwafel, J.T., 1949-50, 1959
  • Sexton, Thomas, 1969
  • Sharp, Burt, 1959
  • Sheridan, Mary, ca 1955-1956, ca 1956, 1960, 1966
  • Shimano, Moto, 1959
  • Silverman, Harold, 1959
  • Smith, C. Martin, ca. 1992
  • Smith, J. Chris, 1959
  • Snyder, John, ca 1958-59
  • Solon, David, ca 1955, ca 1958-59, ca. 1966
  • Souza, Paul, 1949-50, ca 1958-59, 1959, ca. 1966
  • Stebbins, Hal, 1959
  • Stong, Frank, 1959, ca. 1966
  • Superfine, Laurence Allen, 1969 [aka Larry Allen]
  • Terrile, Alan Peter, 1969
  • Teter, Keith, Chair, Industrial Design Department, 1969, ca. 1984
  • Thiesen, ?, 1969 [might be a staff member?]
  • Thompson, Harvey, Chair, Communications Design Department, 1949-50, 1950
  • Thompson, Joseph, ca 1955, 1959, ca. 1966
  • Trafficanda, Gerald, 1966
  • Tyler, Audubon, ca 1958-59, 1961
  • Vartikian, Mary, ca 1955, ca 1958-59 [labeled 1956], 1965
  • Vedder, Gene, 1965
  • Vibber, Jack, ca 1958-59
  • Vick, George, 1969
  • Vilppu, Glenn, ca. 1966
  • Walker, Todd, 1966
  • Wall, Herman, ca. 1947, ca 1949-50, ca 1958-59, 1959
  • Wartnick, Marvin, 1969
  • Weir, Donald, 1959, ca. 1966
  • Wescott, C.E., 1959, ca. 1966
  • Wilkinson, William, 1959
  • Williamson, David, 1969
  • Wilson, George Vernon, 1969, ca 1985
  • Wilson, Robert, 1969
  • Wood, A. G., 1949-50, 1959, 1966, 1967
  • Youngkin, Theodore, ca. 1960, ca. 1966

Students, ca. 1950-ca. 1996 (6,830 images)

  • Graduation Portraits, ca. 1950-1974 (5,020 images)
  • New Students, 1960-1961 (430 images)
  • Scholarship Students, ca. 1952-1967 (380 images)
  • Students visiting from Japan, 1956, 1981 (75 images)
    • Japanese External Trade Recovery Organization (JETRO), 1956 (11 images)
    • Tama University, 1981
  • Illustration students, ca. 1952 (60 images)
  • Assorted Portraits, ca. 1950-ca. 1996 (815 images)
    • Identified students, 1960-1969, 1984-1986 (235 images)
    • Unidentified students, ca. 1950-ca. 1996 (580 images)
  • Group Portraits, 1965-1987 (50 images)

Visitors/Guests ca. 1947-1994 (3,530 images)

  • Lecturers and Individuals [except from automobile industry], ca. 1947-1990 (2,070 images)
    • Ahmanson, Robert (Philanthropist) 1965
    • Ammon, Tom [?] (Advertising) 1964
    • Ax, Chuck (Advertising?) 1959
    • Barr, Carla (Graphic Designer) ca. 1985
    • Bass, Saul (Graphic Designer) 1964
    • Beall, Lester (Designer) 1964
    • Beck, George (General Electric) 1963
    • Bengston, Billy Al (Artist) 1968
    • Bice, [First name unknown] (McCann-Erickson Advertising) 1964
    • Bradbury, Ray (Author) 1963, ca. 1975, 1976
    • Brodovitch, Alexi (Photographer) Ca. 1960
    • Burtin, Will (Designer/Advertising) 1955, 1963
    • Campbell Ewald [name of firm?—individuals not identified] (Advertising) 1965
    • Cather, Myers “Bud” (Advertising--see Herb Strauss) 1967
    • Clergue, Lucien (Photographer) 1981
    • Cober, Alan (Artist) 1981
    • Collins, Dennis (President, James Irvine Foundation) ca. 1990
    • Cousteau, Jean Michel (Environmentalist--son of oceanographer) 1971
    • De Groat, George (Artist) 1968
    • Dorne, Al (Illustrator) ca. 1945, 1961
    • Dreyfuss, Henry (Industrial Designer) ca. 1950
    • Eames, Ray (Designer) 1986
    • Edgerton, [Harold E.?] (Photographer) ca. 1950
    • Eitson, [first name unknown] (Advertising?) 1965
    • Elisofon, Eliot (Photographer for Life magazine) 1962
    • Fairchild, Sherman (Fairchild-Hiller Corporation, pioneer in aviation, photography and sound recording [also an Art Center Trustee]) 1965
    • Fawcett, Robert (Illustrator) ca. 1956
    • Glaser, Milton (Designer) 1986
    • Goldwater, Barry (Politician) 1961
    • Grace, Roy and Evan Stark (Advertising) ca. 1976
    • Hauser, Jon (V.P. Raymond Loewy and Associates, Industrial designer) ca, 1956, 1962
    • Hiller, [Lejaren A. ?] (Photographer) 1948
    • Honnold, Douglas (Architect) ca, 1947 [before he was on Art Center’s faculty]
    • Itamura, Akio [Product major, 1960] (with Dan Morganelli for a design critique) 1965
    • Jones, Chuck, (Animator) 1961
    • Klein, Larry (Graphic Designer?) 1985
    • Krone, Helmut (Doyle, Dayne and Bernbach) 1984
    • Lenz, Marge (Mademoiselle magazine) 1962
    • Linkletter, Art (Entertainer/Author) 1973, ca. 1975
    • Lionni, Leo (Art Director, Fortune magazine) ca. 1956
    • Louie, Larry, ca. 1976
    • MacCloud, Angus, 1965
    • Masuda, Tadashi (Tama University/Graphic Designer) 1985
    • Matsuda, [first name unknown], 1960
    • McDaniels, [first name unknown], 1950
    • Mead, Margaret (Anthropologist) ca. 1971
    • Miho, James (Graphic Designer [Advertising major, 1955]) 1985
    • Nessim, Barbara (Illustrator) 1984
    • Newman, Arnold (Photographer) 1985
    • Newton, Helmut (Photographer) 1981
    • Noyes, Eliot (Designer) 1966
    • Noyes, William “Bill” (Photographer [Photography major, 1941]) ca. 1950
    • Owett, Bernard (Advertising, J. Walter Thompson Agency [Advertising major, 1950]) ca. 1975
    • Parker, Al (Illustrator) 1960
    • Peak, Robert (Illustrator [Illustration major, 1951]) 1965
    • Peters, Thomas [Transportation major, 1979], 1985
    • Pliskin, Robert (Advertising, Benton & Bowles) 1962
    • Reedy, Bill (Kodak) 1965
    • Reinhardt, John (U.S. Steel), 1961
    • Rishman [or Rushman?] (Product design?) ca. 1947
    • Risom, Jens, (Designer--furniture) 1962
    • Rockwell, Norman (Illustrator), 1949
    • Ross, Arthur (Industrial Designer?) ca. 1950
    • Rousselot, [first name unknown] 1961
    • Ruscha, Edward (Artist) 1968
    • Sarra, Valentino (Photographer) ca. 1947
    • Steichen, Edward (Photographer) ca. 1948
    • Strauss, Herb (Grey Advertising, with Myers “Bud” Cather) 1967
    • Telnack, Jack (V.P. Design, General Motors), ca. 1990
    • Tweedie, Thomas (Designer [Product major, 1950]) 1960
    • Von Eckardt, Wolf (Design Critic, Time Magazine) 1983, November
    • Wedemeyer, Archie, (Art Department Chair, Pasadena Junior College, Art Center Coordinator?), ca. 1947
    • Whitney, [first name unknown] (V.P. Foote Cone Advertising) 1960
    • Winters, Jonathan (Comedian) ca. 1976
    • Wolf [first name unknown, spelling of last name might be incorrect] (Photographer)
    • [Dan Wolfe Photography major, 1969? Or Jack Wolfe Photography major, 1968?], 1985
    • Wright, Chief [first name unknown] (Photographer?) ca. 1955
    • Ziff, Lloyd, (Photographer) ca. 1985
  • Graduation speakers (portraits), ca. 1967-1984 (25 images)
    • Bayer, Herbert, 1977
    • Cather, Myers “Bud” ca. 1973
    • Diffrient, Niels, 1975
    • Eames, Charles, ca. 1977 [poor quality: color photocopy?]
    • Factor, Ted, ca. 1976
    • Farson, Richard E., ca. 1967
    • Foley, Paul, ca.  1974
    • Hall, Adrienne, ca. 1975
    • Harvey, Herman, ca. 1967
    • Jones, Chuck, ca. 1974
    • Macadam, Richard, 1973
    • Massey, John, ca. 1980
    • O’Toole, John E., ca. 1973
    • Pereira, William, , ca. 1971
    • Sanberg, Robert A., ca. 1966
    • Saltzman, Marvin L., ca. 1965
    • Seldis, Henry J., ca. 1972
    • Siegel, RitaSue, ca. 1983
    • Smeby, Kyhl, ca. 1971
    • Steed, Diane, 1984
    • Teague, Richard A., ca.  1975
    • Thompson, McKinley W. (Transportation major,  1956), ca. 1972
    • Tiss, Wayne, ca. 1967
    • Wayne, June, ca. 1978
  • Automotive Corporations and Subsidiaries, ca. 1947-1984 (1,030 images) [visits not associated with a sponsored project]
    • Buick, 1951-1952?
      • [Unidentified visitor with LeSabre on front lawn]
    • Chrysler, 1964
      • [Unidentified visitor with Turbine car on front lawn] Citreon, 1986
      • Karcher, Xavier with student Erick de Pauw (Transportation major 1986), 1986
    • Fisher Body, 1961
      • McCabe, [first name?] (see William Mitchell, General Motors)
    • Ford, ca. 1960-1964, ca. 1990
      • Bordinat, Eugene (Director of Styling), May 1964
      • Ford, William “Bill” (V.P. of Ford Motor Co.), ca. 1960
      • Telnack, Jack (Vice President-design), ca. 1990
      • Van Tilburg, John (Ford Interior), 1961        
      • Wood, Damon and Tom Burns, 1963
    • General Motors, ca. 1947-ca. 1985
      • Officials and Design Department, ca. 1950
      • Andrade, Julio “Jules” (Executive Assistant? Styling), 1960
      • Didion, Nolan “Jack” (Exec Chief Product & Exhibit, Product major, 1950)
        • January 1961 (with faculty Albert Cooling)
        • January 1961 (see William Mitchell)
      • Earl, Harley (Chief of Styling/Design) March 1960
      • Earl, Harley Jr. (with William Mitchell), ca. 1958
      • Gillan, Paul (Executive Chief Designer) (with George Pollard), 1961
      • Jordan, Chuck (Styling—Chief 1986-1992), May 1960
      • Mitchell, William “Bill” (Chief of Styling), ca. 1960-1966
        • Ca. 1960
        • October 1960
        • January 1961 (with Jack Didion and McCabe of Fisher Body)
        • November 1961
        • January 1963
        • January 1964
        • April 1965
        • April 1966
      • O’Leary, Howard (Executive Assistant to Harley Earl), ca. 1947
      • Peters, Thomas (Advance Design Director, GM? [Transportation major, 1979]),1985
      • Pollard, George (Ex. Assistant, Chief Designer) (see Paul Gillan), 1961
      • Sauer, [first name?] and Vanderbilt [first name?], March 1960
      • Smith, Roger (CEO), ca. 1980
      • Unidentified visitor with Corvair Monza G.T. on front lawn, 1963 
    • Lincoln, ca. 1956
      • Najjar, John (Styling director), ca. 1956
    • Pontiac, 1965, ca. 1970
      • Fitzpatrick, Arthur (Illustrator), November 1965
      • Kaufman, Van (Illustrator), November 1965
      • Micky [?] A. D. November 1965
      • Unidentified visitor and cars [Trans Ams?]  on front lawn, ca. 1970
    • Toyota, 1984
      • Toyoda, Dr. Shoichiro, 1984
  • Organizations/Groups, 1950-1994 (195 images)
    • Aramaki, Teiichi (Governor of Kyoto Prefecture), Japan, 1994
    • Australian Industrial Design Council, 1967
    • Board of Education [jurisdiction unknown], 1950
    • Cumnock School Alumnae, 1966 [Cumnock School was owner of Third Street campus before Art Center]
    • Foreign Educators [as listed in photo log book], 1960 [One slide says “Fullbright Visitors”]
    • Fullbright [Scholars?], 1961
    • Italian Designers, 1985
    • Japanese Industrial Designers, 1963
    • Western College Association Visitation Committee, 1960
  • Television Stations, 1950-1978 (115 images)
    • KTLA, 1950
    • KNXT, 1965
    • KNBC, 1978
  • Unidentified Visitors [Chronological] ca. 1947-1980 (350 images)
    • Unidentified guest lecturer in an Industrial Design class, ca. 1947
    • Unidentified guest lecturer in a Product design class, ca. 1947
    • Unidentified guest lecturer in an Industrial Design class [?], ca. 1950
    • Unidentified guest reviewing transportation design portfolios, ca. 1950
    • Unidentified guest lecturer in unidentified class, ca. 1950
    • Unidentified lithography speaker in auditorium, ca. 1950
    • Unidentified visitors (two men) standing in front of the stage in the auditorium, ca 1951
    • Unidentified guest lecturer speaking in courtyard, 1955
    • Unidentified guest lecturers speaking in courtyard, 1955
    • Unidentified guest lecturer speaking in courtyard, ca. 1955
    • Unidentified guest lecturer speaking in auditorium, ca. 1955
    • Unidentified visitors from Japan, 1956
    • Unidentified representative from Mademoiselle magazine, 1956
    • Unidentified guest lecturer in an environmental design class, ca. 1960
    • Unidentified Industrial Design Director, Sears Roebuck, 1962        
    • Unidentified guests [possibly General Motors or representatives of one of the Industrial Design organizations] touring the shops and galleries of the Third Street campus, and holding a meeting, ca. 1965
    • Unidentified guest lecturer in auditorium, 1965
    • Unidentified guest lecturer in a transportation class, ca. 1965
    • Unidentified guest lecturer in an Advertising class, ca. 1965 [photos by Charles White]
    • Unidentified guests in a George Jergenson class, ca. 1965 [orphaned frames L, V, X from a Geoffrey Fulton photo shoot]
    • Unidentified guests speaking in a class with George Jergenson and Richard Collier, ca 1965
    • Unidentified guest speaker with Gordon Buerhig’s class on the patio, 1966
    • Unidentified guest from Dupont, 1966
    • Unidentified guests and Strother MacMinn standing by a car in front of campus, 1969
    • Unidentified visitor with Donald Kubly in the patio, ca. 1975
    • Unidentified visitors with Donald Kubly in student gallery, ca. 1980
    • Unidentified visitor from Olympus with Photography Department chair Fred Hutton and an unidentified student, 1986

Campuses, ca. 1937- ca. 1997 (4,055 images)

  • Campus Buildings, ca. 1937-1980, ca. 1991-ca. 1995 (2,040 images)
    • Seventh Street, ca. 1937, ca. 1980
    • Third Street, ca. 1946-ca. 1976
    • Pasadena, Ellwood Building, ca. 1974-1976, ca. 1990-1991
      • Models, ca. 1974
      • Construction, 1974-1975, ca. 1990-ca. 1991
      • Original Building, 1974-1975
      • South wing expansion, ca. 1990
      • Conversion of Atrium into Williamson Gallery, ca. 1991
      • Completed Building, 1976- ca. 1995
  • Campus Scenes, ca.1937, ca. 1950-ca. 1992 (2,015 images)
    • Seventh Street, ca. 1937
    • Third Street, ca. 1950-ca. 1975
      • General, ca. 1950-ca. 1975
      • Shots for Night School brochure, 1967
    • Pasadena, 1976-ca. 1997
      • General, 1976-ca. 1997
      • ‘Day in the Life of Art Center’ type photo shoot, ca. 1981 [probably all by same photographer, but the photographer is not identified]

Events, ca. 1947-2002 (4,120 images)

  • Advancement Dinners, 1987-1988 (75 images)
    • Dinner Dance [Kickoff for fundraising campaign], May 1987
    • Recognition dinner hosted by Lawry’s, 1988
  • Building/Construction Events for Pasadena Campus, 1971-2001 (610 images)
    • Ground warming Ceremony, 1971 [OVERSIZED]
    • Contract signing, 1974
    • Private “Great Day” event for staff and students, November 1974
    • Public “Great Day” event, November 15, 1974
    • Dedication, January 1976
    • South Wing Groundbreaking, December 1989
    • Sinclair Pavilion Groundbreaking, March 25, 2001 [oversized]
  • Christmas Events, 1959-1984 (120 images)
    • Students making decorations and decorating tree, 1959
    • Students decorating tree, 1960
    • Christmas party in courtyard, ca. 1975 [oversized]
    • Christmas Party, 1976
    • Carolers, 1984
  • Corporate Donations, 1965-1989 [Alphabetical] (155 images)
    • Ford Foundation grant, 1965
      • Presentation in Auditorium, and Kooi [first name unknown] with George Jergenson, 1965
    • Honda, 1982, 1989
      • Presentation of gift, 1982
      • Signing of gift, 1989
    • Monsanto, 1965
      • [presentation of check from Monsanto Company to ID department?]
    • PPG Foundation, 1968
      • Carpenter presenting grant and looking at student work with Donald Kubly and George Jergenson in student gallery/auditorium
    • Samsung, 1995
      • Ceremonial signing of agreement (David Brown, Bo Soon Song, Won Taik Kim) and reception at Ritz Carlton
    • Toyota , 1981
      • Presentation of check on behalf of Calty Research
    • Toyota [?], 1985
      • [probably presentation of $1 million that established Toyota Lecture Series & Toyota scholarships]
    • Unidentified check presentations, ca 1970
  • Graduation ca. 1959-1988, 1995 (1,520 images)
    • [Including: ceremonies; speakers at podium; speakers touring campus; receptions]
    • Graduation reception, June 1959
    • Graduation ceremony, January 1960
    • Graduation reception, January 1960
    • Graduation ceremony, May 27, 1960
    • Graduation ceremony, speaker John Rex and reception, September 1960
    • Graduation ceremony, speaker H. Rosenthal, January 27, 1961
    • Graduation ceremony, speaker George Beck, May 26, 1961
    • Graduation ceremony and reception with Mrs. Hodgeson, speaker Kai Jorgenson September 15, 1961
    • Graduation ceremony and unidentified speaker, 1962
    • Graduation ceremony, speaker John Reinhold, and reception, May 25, 1962
    • Graduation ceremony, unidentified speaker, September 14, 1962
    • Graduation ceremony, speaker Goody Knight, January 25, 1963
    • Graduation ceremony, speaker Elmer Peterson, May 24, 1963
    • Graduation ceremony, Fall 1963
    • Graduation ceremony, speaker [Hal Stebbins?], January 31, 1964
    • Graduation ceremony, Ted Factor, Senior Vice President of Doyle, Dane, Bernbach Inc. and reception, May 29, 1964
    • Graduation ceremony, speaker George Bordinat, September 18, 1964
    • Graduation ceremony, speaker Marvin Saltzman, and Co W. Rentmeester & father January 29, 1965
    • Graduation ceremony, speaker Wayne Tiss, and reception, May 28, 1965
    • Graduation ceremony, speaker Myers B. Cather, September 27, 1965
    • Graduation ceremony, speaker John Thompson, January 28, 1966
    • Graduation ceremony, speaker Art Linkletter, and reception, May 27, 1966
    • Graduation ceremony, speaker Robert A. Sandberg, Kaiser, and unidentified, September 23, 1966
    • Graduation ceremony, speaker Richard E. Farson Ph. D., January 27, 1967
    • Graduation ceremony, speaker Dr. Herman Harvey, May 26, 1967
    • Graduation ceremony, speaker George Bordinat, January 26, 1968
    • Graduation speaker Neal O’Connor and Donald Kubly in Kubly’s office, and ceremony May 24, 1968
    • Graduation ceremony honorary doctorate Donald Kubly, George Jergenson, John Lagatta and Linn Hattersly, May 24, 1968
    • Graduation ceremony, speaker Aylsworth Kleihauer, September 20, 1968
    • Graduation ceremony, speaker William “Bill” Mitchell, January 1969
    • Graduation ceremony speaker Paul Foley, May 23, 1969
    • Graduation ceremony, Donald Kubly at podium, ca. 1969
    • Graduation ceremony, speaker William P. Lear, Chairman, Lear Motors, and with Donald Kubly visiting classes, May 29, 1970
    • Graduation ceremony, speaker Ray Bradbury, and visiting classes with Donald Kubly September 1970
    • Graduation speaker Mckinley W. Thompson Jr., reception, May 26, 1972
    • Graduation ceremony Mrs. Jean Renoir, Leslie Caron and graduation speaker David Friedkin, January 25, 1974
    • Graduation speaker Craig Ellwood and others, January 1976
    • Graduation speaker Ansel Adams, reception, January 1977
    • Graduation speaker Lee Iacocca with student Brian Baker and Donald Kubly, January 1984
    • Graduation ceremony, speaker Peter Dailey, May 18, 1984
    • Graduation ceremony, ca. 1984
    • Graduation ceremony, speaker Walter Landor, with Donald Kubly and Paul Hauge, May 17, 1985
    • Graduation ceremony, speaker Syd Mead, September 13, 1985
    • Graduation ceremony, speaker Donald Kubly, January 1986
    • Graduation ceremony, Spring 1986
    • Graduation speaker Saul Bass, April 22, 1988
    • Graduation breakfast with Trustees, Dept. Chairs and other guests; students, parents, and guests viewing grad show; graduation ceremony, special greetings from Bo Soon Song, graduation speaker Henry T. Hopkins, August 19, 1995
  • Meetings/Conferences held at Art Center, 1960-1970 [Alphabetical] (495 images)
    • American Society of Industrial Design (ASID), 1960
    • Art Educators [official name of group unknown], 1960
    • ATA [official name unknown] and PAA (Pacific Art Education Association), ca. 1946
      • [“Art Convention” written on some sleeves]
    • Color Society, 1948 [Color expert Ralph Evans attended]
    • Industrial Designers Institute (IDI) ca. 1960-1962
      • Ca. 1960
      • 1960 [and student chapter meeting]
      • 1961
      • 1962
    • LA Ad Women’s Club [Los Angeles Advertising Women’s Club?], 1961
    • NASA Lunch, 1969
    • Professional Art Education Association, ca. 1950
    • Society Meeting, 1950
      • [name of society unknown, five artists in images: Oscar Van Young[?] Emil Bisttram[?] Oskar Fischinger[?] Boris Deutsch[?] and Lorser Feitelson]
    • Women’s Chamber of Commerce, 1968
    • Unidentified, ca. 1960 [Edward “Tink” Adams and unidentified people]
    • Unidentified, “B.M. Seminar” December 1967 [Myers “Bud” Cather, Donald Kubly, and other unidentified people:  meeting around a table, presentations in auditorium, reviewing student work]
    • Unidentified, ca. 1970 [Donald Kubly, Lorser Feitelson, Sims Carter, Sherman Fairchild and other unidentified people: meeting around a table, Lorser Feitelson speaking at podium in auditorium, portrait of one of the unidentified men.]
  • Staff Parties/Events, 1956-1988 [chronological] (585 images)
    • Faculty and Staff Dinner, 1956
    • John McSweeney’s Retirement, May 1977
    • Joseph Thompson’s Birthday, 1978   
    • George Bronner’s Retirement, ca. 1984
    • Charles Potts’ Retirement, 1985
    • Donald Kubly’s Retirement, November 1985
    • David Brown’s Inauguration, June 1986
    • Marian Urban’s Retirement, 1986
    • Annual Staff Picnic, November 1987
    • Paul Hauge’s “Roast,” 1988
      [when he left for Art Center Europe—Jock strap made for him by Tom Schorrer]
    • Board of Trustees Dinner at David R. Brown’s house, ca. 1995
  • Student Events/Activities, 1947-1986 (290 images)
    • Dance (Hawaiian theme?), ca. 1947
    • Unidentified student meeting, ca. 1950
    • Student Talent show and buffet supper, 1959 [Art Center Wives Club?]
    • Student and Faculty tea, 1963 [Art Center Wives Club?]
    • Bad Taste Friday, 1967
    • Art Center Prom, 1975
    • First Party for International Students, ca. 1976
    • West Canyon Concert, 1976
    • Art Sale, ca. 1985
    • Entry into Pasadena Doo-Dah Parade “Pop Art: Pop Till You Drop” 1986
  • Various Events [chronological], ca. 1947-2002 (270 images)
    • Career Tech Show in Auditorium, Pasadena Junior College, ca. 1947
    • All department photography shoot in courtyard, ca. 1950 [some images from this shoot used in 1950-1951 catalog]
    • Dr. David Dingilian receiving honorary degree from Chapman College, 1952
    • Ren Wicks presenting Society of Illustrators Medal and Scholarship, 1962
    • Sojourn Magazine cocktail party, 1963
    • Architect Richard Neutra at unidentified event [alumni meeting?] ca. 1965
    • Presentation of award from Pt. Mugu for assistance with Photographic Training Program, 1968
    • Donald Kubly and 8 students, video taping session, 1970
    • Unidentified event outside, 1971 [graduation reception?]
    • Presentation of Professional Photographers of America Honors, awarded to Charlie Potts as representative of ACCD, 1972
    • Unidentified event outside, Donald Kubly and others, c. 1975 [graduation reception?]
    • Unidentified event, Donald Kubly and others, ca. 1975
    • Unidentified event in auditorium, with 3 unidentified speakers, ca. 1975
    • Unidentified event in Atrium, ca. 1976 [oversized]
    • Ansel Adams reception with Photography students, 1977
    • Film Program, 1980
    • Unidentified speaker at podium, Donald Kubly seated, ca. 1980 [Graduation? Alumni meeting?]
    • Keith Teter visiting General Motors [?], ca. 1980
    • Count Giuseppe Panza di Biumo (Art collector) visit, ca. 1985 
    • Celebration of Lalla Lezli, November 16, 2002 [Exhibit of works depicting life model Lalla Lezli, who died June 2002]

Exhibits, ca. 1945-1991 (1,240 images)

  • Visiting, ca. 1950-1991 [Chronological] (705 images)
  • [ART CENTER DOES NOT OWN COPYRIGHT to portraits of the artists’ works.]
    • [Unidentified] Journal exhibit, ca. 1950
    • 31st Salon de Photography, ca. 1950 (students examining exhibit)
    • New York Art Directors, ca. 1955 (students examining exhibit)
    • Fine Art Museum Photo show, 1960 (students examining exhibit, Lorser Feitelson lecturing, and Sims Carter with Marcia Hunt and her husband at opening)
    • Type Directors Show, 1965 (Donald Kubly’s class reviewing exhibit)
    • Type Directors, 1966 (students examining exhibit)
    • Unidentified exhibit, ca. 1970 (L. Feitelson and others talking in front of exhibit)
    • Richard Avedon, 1976
    • Berggruen Show, ca. 1976 (portraits of 5 unidentified art pieces)
    • Irving Penn, 1978 (installed exhibit and exhibit opening)
    • Paul Davis, 1979 (exhibit opening)
    • Wayne Thiebaud, 1980 (exhibit opening, and art work)
    • [Helena ?] Hernmarck, ca. 1980 (poppies tapestry)
    • Ron Davis painting, Rowan Exhibit 1980 (Stephen Nowlin and woman standing in front of painting; exhibit poster)
    • Carrozzeria Italiana, 1981 (bulk are of events surrounding the Italian designed car exhibit, very few of cars)
    • Edward Biberman, 1981 (art work only)
    • Decade of the 70s, 1981 (installed exhibit)
    • Alan Cober, 1981 (exhibit poster and art work)
    • Rowan Collection, 1982 (documentation of installation); work by Frank Stella
    • Castelli, 1984 (installed exhibit)
    • Venturi, 1985 (artist with work, installed exhibit)
    • David Hockney, 1986 (opening, installed exhibit)
    • Apple, 1986 (installed exhibit)
    • Pasadena Collects, 1986
      • Artist Jay Wills installing his sculpture “Framed Up” (1983)
      • Exhibit gallery
    • Donald Judd’s “Stack” ca. 1986-1987 (lent by Frederick Weissman Collection)
    • [Light fixtures?], 1987 (installed exhibit)
    • [Unidentified], 1987 (photographs of 2 dimensional art pieces)
    • Rebecca Mendez, 1991 (photograph of piece used for exhibit announcement)
  • Faculty, 1947, 1962 (25 images)
    • George Hoyningen-Huene, 1947 (opening reception?)
    • William Connell, 1962 (opening reception?)
  • Sculpture Garden, 1981-1991 (305 images)
    • Installation of Mark Di Suvero sculpture, 1981
    • Sculptures installed near buildings, ca. 1984
    • Sculpture Garden opening reception, 1984
    • Sculpture Garden, ca. 1984 [OVERSIZED]
    • Sculpture Garden at sunset, ca. 1985
    • De Suevero [Di Suvero SPELLING?] sculpture with people on swing, 1986 [this is a different sculpture than the one installed in 1981]
    • Sculpture Garden, ca. 1987
    • Sculpture Garden, 1991
    • Sculpture Garden, ca. 1991 [OVERSIZED]
    • Sculpture Garden, ca. 1992 [OVERSIZED]
  • Student Exhibits, ca. 1935-ca. 1990 (205 images)
    • Bulk from 1959-1977 showing the student galleries at Third Street and at Pasadena campuses.  Most of the images include people examining the student work.  Some of exhibits to other locations than Art Center.

Faculty Work, 1947-1950 (75 images)

  • Individuals, ca. 1947-1949 (35 images)
    • Virginia Legakes, 1949
    • Strother MacMinn, ca. 1947
    • Palmer Schoppe, 1949
  • Group Projects, 1950 (41 images)
    • Hollywood Park interior design and outdoor sculpture, Bernyce Polifka, Eugene Fleury, and Palmer Schoppe, 1950
    • Fashion Photography instructional film, Richard Ham and George Hoyningen-Heune, ca. 1950

Slide Shows, 1958-1980s (1,175 images)

  • On Art Center (425 images)
    • General Slide Shows
    • Donald Kubly’s slide shows [probably not complete show]
  • On Design, 1958, 1972, 1980 (750 images)
    • Brussels Worlds Fair, 1958
    • “Design for High Density Society,” presented by Kenji Ekuan at ACCD’s 50th anniversary, 1980
    • Public Transportation, [presented by Montogmery Ferar?] 1972

Assorted [Chronological], ca. 1935-ca. 1995 (180 images)

  • Man and woman posed as dancers [?], ca. 1935
  • Women posed in classical robes, ca. 1945
  • Unidentified mountain tram, ca. 1945
  • Car in front of Third Street school, ca. 1949
  • Truck towing a car, ca. 1950
  • Gallery of Welton Beckett and Associates, Architects, ca. 1950
  • Microphone, ca. 1950
  • “Dick Ham’s Statue” ca. 1950 [possibly used for teaching]
  • Mitchell camera, 1951
  • American Designers Inc., 1951
  • “Mr. Adams property for zoning commission” 1951
  • Interior of unidentified home, Japanese style, ca. 1955 [not Adams home]
  • “Mooshian sculpture copies” 1964 [photos of sculptures used for teaching]
  • Students at an unidentified exhibit of cars, ca. 1965
  • Arthur Keller Drawings for Henninger, 1965 [used for teaching?]
  • Aerials of Art Center property in Pasadena, ca. 1975
  • Cake with candles, 1980 [image used for 60th Anniversary materials “The Big Weekend”]
  • Remodel of ACCD storefront gallery in Pasadena, 1987
  • Orange inflated ball “Dot” on lawn, ca. 1990
  • “Show us your vision” Admissions design contest, 1990
  • Graphs of statistics regarding computer graphics at ACCD, ca. 1995

Institutional Records

The institutional records are the materials created by campus administrative and academic departments, student groups, and Board of Trustees.  Records include, but are not limited to, meeting minutes, correspondence, public relations clippings, budgets, and printed materials.

Collection Guide:

Board of Trustees (RG 1)
This collection consists of Articles of Incorporation, Board of Trustees Books, minutes, Committee minutes, and correspondence, 1932-2007.  Restricted access

President’s Office – Edward A. Adams (RG 2.01)
Edward A. Adams was the founder and first president of Art Center.  These few papers are mainly related to his personal life, but also include a few materials about Art Center, 1951-1981.

Corporate Relations (RG 7.05)
This collection consists of files created by the Director and staff of Corporate Relations from 1967 through 2005.  The bulk of the collection is administrative files which document the varied responsibilities of the department.  Also included here are files related to the corporate donor-related events, especially Super Thursdays, and sponsored projects, 1967-2005.

Special Events (RG 8.03)
This collection consists of subject files created by the Special Events Director while planning Art Center events from January 1995 through December 1998.

Public Relations (RG 8.07)
This collection consists of files created by the Directors and staff of Public Relations from 1944 through 2002.  The bulk of the collection is administrative files which document the varied responsibilities of the department.  Also included here are numerous clippings and press releases, as well as photographs and computer files related to the promotion of Art Center, 1944-2003.

Admissions (RG 12.01)
This collection consists of files and printed materials created by the Admissions department from the 1930s through 2007.  The bulk of the collection is statistic reports and the college catalogs.

Art Center’s Wives Club (RG 18)
Founded in 1956, the Art Center Wives Club was sponsored by Art Center to serve as a social and support group for the wives of the college’s male students.  This collection consists of newsletters, minutes, correspondence, photographs, and other materials which document the planning activities, events and meetings of the Art Center Wives Club, 1956-1977.

Art Center (Europe) (RG 19)
Art Center (Europe) opened in the fall of 1986 with 39 students from 13 countries.  It offered a preparatory program, a Bachelor of Fine Arts in Communication Design, and a Bachelor of Science in Product Design and Transportation Design.  The school closed just before its tenth anniversary in March 1996.  This collection consists of correspondence, administrative files, blueprints, and clippings that document Art Center (Europe)’s creation, operation, and closure, 1978-1996.

Accreditation (RG 20)
Accreditation reports and records for the Western Association of Schools and Colleges (WASC) and to the National Association of Schools of Art and Design (NASAD), 1959-1997.

Archetype Press (RG 21)
Established in 1989, Archetype Press at the South Campus is a unique creative resource for students and the community that continues the tradition of letterpress printing technology.   This collection contains documents, examples of student work, and publications from the Archetype Press.

Digital Media (RG 23)
This collection consists of materials created by the Digital Media Department from 1997 to 1999.  The bulk of the collection is related to the “Beyond Glory: Stories of Mack and Jack Robinson” CD-ROM project.

Illustration Department (RG 28)
This collection consists of files created by Illustration Department Chairs Phil Hays, Gary Meyer and David Mocarski.  The bulk of the Phil Hays papers consist of subject files of student projects and competitions.  Also included are people files which contain samples of alumni artwork, many slides of student and alumni projects, and a departmental self-study, 1980-2003.

Product  Design Department (RG 31.01.01)
This collection consists of files created by C. Martin Smith, Product Design Department Chair from 1987 to 2006.  The bulk of the collection is files and images of sponsored projects and student work.



Art Center’s past and present publications, created by offices, departments, and students, are collected by the Archives.  These include catalogs, newsletters, magazines, and bulletins.

List of Publications:

  • Abridged
  • Advancement News
  • Alumni Association Newsletter
  • Alumni Letter
  • At Art Center
  • Bulletin
  • Developments at Art Center
  • Dot
  • Full Circle
  • The Horizon Line
  • Review
  • On the Wing
  • Outer Circle

Student Publications:

  • Blurb
  • Bureaucratic Bilge
  • The Dotted Line  [Art Center Student Government Newsletter]
  • Fishwrap
  • Image
  • infp
  • Irritant
  • Issue
  • Off Center
  • Paper or Plastic
  • Seriously
  • Student Newsletter
  • Two Cents Extra
  • The Word
  • Wrong 

Moving Image and Audio

The moving image collection consists of over 700 videotapes, films, and DVDs.  Among the holdings include recruitment videos, graduations, events, speakers, public relations clips, funded educational projects, student films, and interviews. 

The audio collection consists of roughly 600 audiocassettes of graduation speakers, Toyota Lecture speakers, events, presentations, workshops, and meetings.

Manuscript Collections

Adams Family collection

Edward A. Adams was the founder and first president of Art Center.  Virginia Legakes Adams was an instructor at Art Center and his second wife.  This collection consists mainly of photographs with a few letters and magazine advertisements. 

Archives Contact Information


Robert Dirig
College Archivist

Cathy Lynn Folgate  
Processing Archivist

Related Information

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