The Art Center School circa 1960-1963

I recently posted a shout-out to one of my closest friends from the Art Center, Fred Pfeiffer, illustrator,whose career ended much too soon by his own hand.  At this age we are starting to loose our pals at an increasingly rapid rate.  Nostalgia took over while digging up as much as I could find from that period to provide some  back story to a dedicated site of his work FredPfeifferArtist.blogspot.com by two really avid fans Courtney Rodgers and Scotty Phillips. 
I thought it might be of interest to some still around as well as to those younger to what it was like at the former building on West Third Street in Los Angeles.

A later photo of the buildings on West Third

Lorser Feitelson

Lorser taught painting  history and technique starting generally with a short lecture and then an open session for your own project.  He encouraged younger painters to copy master paintings for technical understanding

Harry Carmean - drawing and anatomy

An accomplished draftsman, Carmean emphasized careful analysis of the human form.  The texts were Bridgeman and Peck.  Live models were naturally posed for varying lengths of time.  Conte crayon and newsprint pads were generally exclusive materials for these classes.

Morgan Henninger - Advanced Illustration class

 Assignments were given out a week in advance and the crits lasted most of the session...
Do not ever be late...(Deadline of Death)

Kaminski and Ted Youngkin at coffee before morning classes

Ted Youngkin

 Typical studio class

 Paul Sousa with I believe one of the Hubner twins

taken from an Art Center Catalog

preparing a board

 studio session during break

 Roommate John Demming and my truck at our shared studio on North Cahuenga

Check out the price of gas...1962

During our last year at the center we found a muddy lot on Franklin and thought up the idea of a rope pull between the Advertising Design Majors and the Illustration Majors.  The prints below were scanned in from photostats and have lost a great deal of detail.  Below are the art directors and I believe it was pretty much an exhaustive draw as we were all laughing so hard..

 The end of the day when the Blue visited the Brown

 Sandy and Timmy

Future Mad Men around 1963-64

If anyone out there has anything to contribute to this section I would love to hear from you...GL

John LaGatta at the Art Center

Anyone who has studied with John LaGatta has at least one story.
His method of instruction was strictly old school but wasn't that what you wanted at the time?
The drawing at the right is an example of his 'fine Italian hand' as he liked to call it... John was the first illustrator to crack a million dollars as his sensual drawings of the female form were much in demand by both story and fashion.  He spoke often of completing more that two drawings a day from hired models at $1800 per drawing... remember during the 20's and 30's taxes were no where to be seen.

His painting classes were always formed around a draped model lighted with  warm and cool sources for contrast on the form.  We were expected to have a prepared watercolor stretch with a gray-green half tone over the entire surface. A very careful drawing of the model in charcoal was done on tracing paper and transferred to the prepared stretch.  The medium was gouache.

Here is another example of his work exemplifying his beautiful rendering of  posterior views.  His fellow illustrators of the time affectionately referred to him as the ***man.
John had a very short fuse if he thought you were not following his instructions or "not getting it."  There was a student in one of our classes that John felt was not putting it together and ignoring him. During the break he noticed that the student had an ear piece with a lead to his breast pocket and assumed that he was hard of hearing and apologized. The student confessed that it was a radio and that he was listening to a ball game. LaGatta exploded. After the break we all had a little extra room to work in.

John would often join some of the students for coffee before classes and talk about anything and everything. He would roll a cigarette in wheat straw paper and get into some deep discussion or not depending on the day...
One morning I brought my Basset hound in to pose in one of the other classes as he was very accommodating... you could twist him into almost any position and he would remain there.  John just stared down at the dog for the longest time while rolling one of his yellow papered sigs and finally looked up at me and said "God must have been at the beach the day that this dog came into being designed. His head is too big for his body, his legs are too short, his ears are too long, his tail makes no sense..This is with out a doubt the ugliest thing I have ever seen. A design disaster."  "Sir" I replied, "You are defaming the dog I love"..

Here is a drawing by Laura Edwards of Sweetwater and myself done I believe with a sharpened popsicle stick, India ink and wash for one of the night classes.

The original Sweetwater circa '61

John LaGatta Illustrator and Teacher

More of John LaGatta's drawing shows in the lovely hands and clinging folds of the models dress.

The drawing again describes so well the material and form.

John LaGatta