Gnomon Catalog

Artwork by Akin Adekile STUDENT CATALOG
Artwork by Leonardo Krajden
School Address: 1015 North Cahuenga Blvd., Los Angeles, CA 90038 §94909(a)(4)
Administrative Office Hours: Monday through Friday from 9:00 AM - 6:00 PM
Office Phone: 323.466.6663

Office Fax: 323.466.6710
Catalog Effective from April 2020-2021 §71810(b)(1)
Version 2020 - 2021.1 (April 2020)
Policies and procedures are subject to change. Though this catalog is produced as a reference guide,
each student is responsible for keeping apprised of current policies pertaining to the School and their
course of study.
STUDENT CATALOG 2020-2021.1 pg. 2 of 198

NOTICE TO PROSPECTIVE STUDENTS
As a prospective student, you are encouraged to review this Gnomon Student Catalog prior to signing
an Enrollment Agreement. You are also encouraged to review the School Performance Fact Sheet,
which must be provided to you prior to signing an Enrollment Agreement. §94909(a)(3)(B)
RESERVATION OF RIGHTS
Gnomon reserves the right to change tuition fees, scheduled dates of courses, course offerings,
instructors, policies, and procedures pursuant to California Code of Regulations (CCR) and California
Education Code (CEC). Gnomon also reserves the right to deny enrollment in courses to any student
and the right to withdraw any student whose conduct fails to comply with the policies, rules, and
standards of Gnomon.
Gnomon has no pending petition in bankruptcy, is not operating as a debtor in possession, has not
filed a petition within the preceding five years, and has not had a petition in bankruptcy filed against it
within the preceding five years that resulted in reorganization under Chapter 11 of the United States
Bankruptcy Code. §94909(a)(12)

TABLE OF CONTENTS
Notice To Prospective Students. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Reservation Of Rights. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Mission Statement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Institutional Objective Statement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
History Of Gnomon. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Accreditation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
State Approval. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Academic Calendar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Programs: Degree (Bachelor of Fine Arts in Digital Production). . . . . . . . . . . . . . . . . . . . 13
Admissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Graduation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Course Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Electives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Games Concentration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Games Concentration Electives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Programs: Certificate (Digital Production for Entertainment) . . . . . . . . . . . . . . . . . . . . . 24
Admissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Graduation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Course Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Modeling and Texturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Character and Creature Animation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Visual Effects Animation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
3D Generalist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Games. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Avocational: Foundation (Foundation in Art & Design). . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Admissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Course Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Avocational: Individual Courses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Admissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Course List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Policies: Individual Courses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Avocational: Distance Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Admissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Policies: Distance Education. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
International Students . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Evidence of English Proficiency Requirement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Change of Program Grid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

TABLE OF CONTENTS
Transfer & Transfer of Credit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Transfer Credit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Articulation/Transfer Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Transfer of Credit from Courses Taken from Other Institutions. . . . . . . . . . . . . . . . . . 61
Transfer of Credit Appeal Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Transfer of Credit from Courses Taken at Gnomon . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Transfer Between Gnomon Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Course Proficiency: Certificate Seeking Students Only. . . . . . . . . . . . . . . . . . . . . . . . . 63
Advanced Placement (AP) Credit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Tuition, Fees & Payment Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Paying Tuition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Payment Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Tuition and Fees: Degrees. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Tuition and Fees: Certificate (Digital Production for Entertainment). . . . . . . . . . . . . . 69
Tuition and Fees: Certificate (Entertainment Design and Digital Production). . . . . . . 70
Tuition and Fees: Avocational (Foundation in Art & Design). . . . . . . . . . . . . . . . . . . . . 71
Tuition and Fees: Avocational (Individual Courses). . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Tuition and Fees: Avocational (Distance Education). . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Scholarships & Financial Aid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Scholarships. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Financial Aid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Financial Aid Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Gnomon Title IV Code of Conduct. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Veteran’s Educational Benefits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Grades & Grading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Application of Grades and Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Grading. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Grade Definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Incomplete Grade Mark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Grade Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Petition for Grade Change. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Satisfactory Academic Progress (SAP) Policy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Monitoring Satisfactory Academic Progress (SAP). . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Reinstatement After Dismissal & Appeal Process. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
SAP Reinstatement Appeal Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Cancellations, Withdrawals & Leave of Absence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Request to Add/Drop a Course. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Cancellation on or Before the First Day of Class. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Cancellation During the First Seven Days After Enrollment . . . . . . . . . . . . . . . . . . . . . 97

TABLE OF CONTENTS
Cancellation/Withdrawals & Refunds for Program Studies. . . . . . . . . . . . . . . . . . . . . . 99
Course Changes & Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Leave of Absence (LOA). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Returning from a Leave of Absence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Leave of Absence for International Students . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Student Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Academic Mentoring Center (AMC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Disability Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Employer Preview Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Gnomon Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Gnomon Externship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Gnomon Student Assistance Program (GSAP). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Field Trips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Housing Accommodations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Gnomon Library and Learning Resources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Onsite Counselor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Orientation for Full-Time Students. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Peer Tutoring. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Placement & Alumni Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Student Assembly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Student Clubs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Student Council. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Student Gallery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Student Gnomon Emails . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Student ID Cards. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Student Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Student Web Portal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
The Gnomon Store . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Records. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Record Retention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Family Education Rights and Privacy Act (FERPA) – Educational Records . . . . . . . 116
Transcript & Letter Request. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Policies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Facilities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Parking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Holidays. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Preventative Health & Safety Measures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Health Insurance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Accidents & Injuries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

TABLE OF CONTENTS
Non-Discrimination Policy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Title IX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Harassment & Sexual Misconduct Policy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Grievances. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Weapons Policy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Alcohol & Drug Abuse Policy Statement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Emergency Notification System. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Visitors/Minors at Gnomon Policy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Campus Security. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Campus Security Act Disclosure Statement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Student Conduct Policies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Plagiarism & Academic Honesty Policy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Lecture Etiquette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Studio/Lab Etiquette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Student/Faculty Relationships. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Student Liability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Personal Safety. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Bicycles, Skateboards, & Scooters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Smoking Policy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Termination, Dismissal & Suspension . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Termination Policy & Borrower’s Agreement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Dismissal and Suspension Policy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Reinstatement After Dismissal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Appendix 1: Course Descriptions: Degree Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Appendix 2: Course Descriptions: Certificate Studies. . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Appendix 3: Course Descriptions: Avocational Studies (Foundation in Art & Design). . 178
Appendix 4: Course Descriptions: Avocational Studies (Individual Courses). . . . . . . . . 182
Campus Map. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Correspondence Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

MISSION STATEMENT
Gnomon specializes in computer graphics
education for careers in the entertainment
industry.
INSTITUTIONAL
OBJECTIVE STATEMENT
Gnomon strives to be recognized globally as
the foremost educational authority in 3D
computer graphics; the School is committed
to offering the highest quality education,
instruction, and a comprehensive educational
experience, thereby preparing graduates for
successful careers.
Artwork by Omar Taher

INTRODUCTION
Gnomon specializes in providing computer graphics education to students seeking careers in the
entertainment industry. The school strives to emulate a production environment within its classrooms
by utilizing instructors who are working professionals at film and game studios. Gnomon also provides
post-secondary learning through the inclusion of academic and fine art courses designed to support
the technical pipeline.
Gnomon recognizes that a quality artistic and technical education is only a portion of a student’s
holistic educational experience. Through industry-related events showcasing the latest artistic and CG
techniques, students at Gnomon gain a broad understanding of the operational characteristics of
different studios, an insight into the current job market, and the accumulated knowledge of how to
navigate a career in the digital production industries. Gnomon students receive a full range of
educational opportunities well beyond the traditional classroom setting, including a comprehensive
student service program designed to support and empower student success.
This catalog details the institutional policies and procedures pertaining to the Gnomon student
experience and includes important information on program and course specifics, student services,
financial aid, academic policies, conduct policies, tuition, and more. Though the catalog is produced as
a reference guide, each student is responsible for keeping apprised of current policies and procedures
relating to the School and their course of study. Policies and procedures are subject to change.
Please visit gnomon.edu/files/gnomon-catalog.pdf for the most recent version of this catalog. For a
printed copy of this catalog, please visit the Gnomon Store.

HISTORY OF GNOMON
Founded in 1997, Gnomon is located in the heart of Hollywood and provides specialized education in
the visual effects field. The school offers certificate and degree programs for individuals without prior
visual effects experience, online courses, and skill enrichment for individuals already in the industry.
Gnomon’s curriculum is guided by its esteemed Advisory Board, which is comprised of industry
professionals as well as educational specialists. Utilizing their input, Gnomon programs and facilities
are constantly evolving to reflect the changing demands of the entertainment industry.
Many of Gnomon’s instructors currently work in entertainment. The offered curriculum is continually
developed, tested, and delivered by highly regarded professionals who work at and consult for studios
including DreamWorks, Disney, Rhythm & Hues, Industrial Light & Magic, Sony Pictures Imageworks,
Sony Interactive, Digital Domain, Electronic Arts, Activision, Rockstar Games, and Blizzard.
Artwork by Jak Pagan
INSTRUCTION
Gnomon’s goal is to create an educational environment unlike any other. The school strives to pioneer
effective methods of learning and to provide a better way to prepare students for introductory careers
in the computer graphics entertainment industry. Gnomon’s technical instructors use their real-world
experience to ensure that curriculum moves in tandem with the industry, while the School’s general
education instructors lay the groundwork for the programs through traditional courses, both academic
and aesthetic.
To prepare students for the collaborative nature of a career in visual effects, Gnomon’s courses
parallel the inner workings of effects studios. The school’s technical curricula take students through
the completion of collaborative and individual projects. Gnomon students develop their creative
concepts into fully realized production assets, utilizing methods and workflows used every day in the
entertainment industry. Gnomon graduates enter the video game, visual effects, and film industries
armed with competitive portfolios and a network of peers and industry-affiliated professionals to
provide sustainable support.

ACCREDITATION STATE APPROVAL
Gnomon is accredited by the Accrediting Gnomon is approved to operate as a private
Commission of Career Schools and Colleges postsecondary school in the State of California as
(ACCSC). ACCSC is recognized by the United based on provisions of the California Private
States Department of Education as a private, Postsecondary Education Act (CPPEA) of 2009,
non-profit, independent accrediting agency that which was effective January 1st, 2010. The CPPEA
provides accreditation to institutions that are is administered by the Bureau for Private
predominantly organized to educate students for Postsecondary Education (BPPE), under the
occupational, trade, and technical careers. Department of Consumer Affairs. §94909(a) (2) &
§94897(l)
ACCSC’s mission is to serve as a reliable
authority on educational quality and to promote Any questions a student may have regarding this
enhanced opportunities for students by Gnomon Student Catalog that have not been
establishing, sustaining, and enforcing valid satisfactorily answered by the institution may be
standards and practices which contribute to the directed to the Bureau for Private Postsecondary
development of a highly trained and competitive Education (BPPE). §94909(a)(3)(A)
workforce through quality career-oriented
education. BPPE Contact:
2535 Capitol Oaks Drive, Suite 400
Gnomon has been recognized by ACCSC as a Sacramento, CA 95833
2019 ACCSC School of Excellence. bppe.ca.gov
Phone (local): 916.431.6959
ACCSC Contact:
Toll-free Phone: 888.370.7589
2101 Wilson Boulevard, Suite 302
Fax: 916.263.1897
Arlington, Virginia 22201
accsc.org
Phone: 703.247.4212
Fax: 703.247.4533

Artwork by Toby Lewin
ACADEMIC CALENDAR
2020 SPRING Term Dates: Monday, April 20th, 2020 - Sunday, June 28th, 2020
Make Up Week: Monday, June 29th, 2020 - Friday, July 3rd, 2020
Term Break: Saturday, July 4th, 2020 - Sunday, July 12th, 2020
Holidays: Independence Day
Saturday, July 4th, 2020 - Sunday, July 5th, 2020
2020 SUMMER Term Dates: Monday, July 13th, 2020 - Sunday, September 20th, 2020
Make Up Week: Monday, September 21st, 2020 - Sunday, September 27th, 2020
Term Break: Monday, September 28th, 2020 - Sunday, October 4th, 2020
Holidays: N/A
2020 FALL Term Dates: Monday, October 5th, 2020 - Sunday, December 13th, 2020
Make Up Week: Monday, December 14th, 2020 - Sunday, December 20th, 2020
Term Break: Monday, December 21st, 2020 - Sunday, January 10th, 2021
Holidays: Thankgiving
Thursday, November 26th, 2020 - Friday, November 27th, 2020
2021 WINTER Term Dates: Monday, January 11th, 2021 - Sunday, March 21st, 2021
Make Up Week: Monday, March 22nd, 2021 - Sunday, March 28th, 2021
Term Break: Monday, March 29th, 2021 - Sunday, April 11th, 2021
Holidays: N/A

Artwork by Li Wan
PROGRAMS: DEGREE
BACHELOR OF FINE ARTS (BFA) IN DIGITAL PRODUCTION
Gnomon’s Bachelor of Fine Arts in Digital Production program is a full-time Generalist course of study.
The objective of the Bachelor of Fine Arts in Digital Production program is to produce entry-level
production artists who are versed in general academic knowledge, foundational arts, and production
skills.
The BFA curriculum is geared towards adult students who desire entry into careers as digital artists in
the video game, visual effects, or film industries. Digital class sizes are limited to eighteen (18) students
or fewer, offering students ready access to each of their instructors. In addition to being graded and
evaluated in every course, students benefit from in-depth feedback on their work through regular
critiques, ensuring the development of artistic, technical, and problem-solving skills.
Gnomon offers an optional Concentration in Game Art for students enrolled in the Bachelor of Fine Arts
in Digital Production program. Students may choose a Game Art Concentration, which contains 30
unique units of game specific courses within the Digital Production course of study. A concentration
within the BFA is not required. All graduates of this program have the same outcomes and placement
opportunities regardless of chosen concentration.
Program Specifics:
- Twelve (12) 10-week quarters
- Four (4) years to complete (48 months)
- 1,830 clock hours
- 180 quarter credit units of which 45 units are dedicated to General Education

Course Delivery:
- Most courses consist of three (3) hours of

lecture and demonstration per week
- A typical full-time student will spend two
(2) hours of out-of-class work for each
didactic course hour
- Instruction may be held any day of the
week during stated class hours, 9:00a.m.-
10:00p.m.
- Students are encouraged to utilize
additional on-campus, studio lab time or the
Library to complete assignments
The Bachelor of Fine Arts in Digital Production

program requires a minimum of 180 earned quarter
credit units to complete, defined as:
- Credit Hour: One quarter credit hour equals

30 units comprised of the following
academic activities:
- One clock hour in a didactic learning
environment = 2 units
- One clock hour in a supervised
laboratory setting of instruction = 1.5
units
- One hour of out-of-class work and/or
preparation for the didactic learning
environment or supervised laboratory
setting of instruction that is designed to
measure the student’s achieved
competency relative to the required
subject matter objectives = 0.5 unit
Financial aid is available for those who qualify. This

school is authorized under Federal law to enroll
nonimmigrant alien students.
Artwork by Alvaro Zabala

CLASS HOURS/COURSE LENGTH
One class hour equals one class period of 50 minutes. Each 50-minute period has a suggested 10-
minute break which may be taken at the instructor’s discretion.
INSTRUCTIONAL SCHEDULE
Courses are offered seven (7) days per week. Class periods are as follows:
1st period: 9:00 AM - 12 PM (noon)
2nd period: 1:00 PM - 4:00 PM
3rd period: 4:00 PM - 7 PM
4th period: 7:00 PM to 10 PM
Occasionally schedules may differ from the above, based on instructor or room availability.
LABORATORY PRACTICE & SCHEDULE

Gnomon operates computer labs and studios from 9:00 AM - 1:00 AM seven (7) days a week, excluding
holidays. At least one Systems Engineer is on duty at all times. Students are encouraged to utilize
Gnomon’s facilities during these times.

ATTENDANCE
A strong attendance record is an essential element of student success. Students are expected to be on
time and be present from beginning to end of each class and lab. Attendance is recorded. Students who
are late for class may be marked absent. Students who do not maintain excellent attendance may have
their grade lowered for unsatisfactory participation, which may result in a failing class grade, suspension,
or termination.
Questions regarding attendance may be directed to the Registrar via email at registrar@gnomon.edu.
STUDENT EVALUATIONS
Within the last weeks of the course, students are asked to evaluate their courses and instructors through
a Student Evaluation form, located on the Gnomon Student Web Portal. The responses help the
administration identify areas that are satisfactory and where there may be room for improvement.
Gnomon takes these student evaluations very seriously and ask that students do so as well.
Questions regarding student evaluations may be directed to the Education Office via
email at education.admin@gnomon.edu.
REPEATING A COURSE
All students in the Bachelor of Fine Arts in Digital Production or in the Digital Production program must
pass all courses to remain in good standing. If a student earns a fail grade of an “F,” the student must
retake the course at their cost until a passing grade is earned. Repeated failure to pass any course may
result in jeopardizing the student’s ability to graduate, academic standing, program completion within
the maximum time frame offered, or ability to advance within the program. Gnomon strongly advises
students to retake any course where the earned grade is below a 2.0 (C). Please refer to Gnomon’s
Satisfactory Academic Policy (SAP) standards.
STUDENT WORK
Gnomon reserves the right to retain any and all student work for marketing, exhibition, publication, or for
the student gallery. Gnomon labs and facilities may not be used for paid production work.

Artwork by Kevin Le
ADMISSIONS: DEGREE
BACHELOR OF FINE ARTS IN DIGITAL PRODUCTION (BFA)
All applicants to our full-time programs must:
- Complete an online application form
- Submit a portfolio that demonstrates artistic ability as outlined in the published portfolio
guidelines
- Pay an application fee
- Provide proof of high school completion or equivalent
- Complete an interview by an Admissions representative
All portfolios can be sent digitally to admissions@gnomon.edu.
Applications are accepted on an on-going basis, though students are encouraged to apply as soon as
possible to obtain their desired start dates. See Gnomon’s Academic Calendar for further information on
start dates.
Once all components of the application have been completed, the Admissions Review Committee will
survey the application. A student may be denied admission for failure to meet any of the requirements
listed above or if determined incapable of benefiting from the educational goals of the program.
Applicants denied acceptance are encouraged to obtain further course advisement from the Admissions
Office. Additionally, the Admissions Office reserves the right to revoke acceptance from any student
who violates Gnomon’s school policies prior to attendance.
For further questions regarding admissions, students should contact admissions@gnomon.edu.

GRADUATION: DEGREE
BACHELOR OF FINE ARTS IN
DIGITAL PRODUCTION (BFA)
Students seeking a Degree in the Bachelor of Fine Arts in
Digital Production program must earn 180 quarter credit
units and maintain Satisfactory Academic Progress policy
standards. Students must complete the entire program
within 1.5 times the normal program length. Please review
all Satisfactory Academic Progress (SAP) policies and
procedures in the Gnomon Student Catalog that clarify
the policies between both qualitative (students must
meet a cumulative and quarterly 2.0 grade average), and
quantitative standards (students must complete the
program within 150% of maximum time allotted), which is
aligned with Department of Education guidelines.
Satisfactory arrangements for all exit processes must be

met, and may include financial obligations, graduate
interviews, and financial aid exit interviews. Upon
completion of the above and all classroom education and
training, the student will be issued a Bachelor of Fine Arts
in Digital Production degree from Gnomon attesting to
the successful completion of the program.
Artwork by Aviral Agarwal

BACHELOR OF FINE ARTS IN
DIGITAL PRODUCTION
COURSE GRID
Bachelor of Fine Arts in Digital Production curriculum.
Course descriptions may be found in Appendix 2.
TERM 1
Overview of Digital Production 2 credits
Language Arts 1 3 credits
Figure Drawing 3 credits
Earth Science 3 credits
Cultural Studies 3 credits
Visual Communications 1 3 credits
TERM 2
Art History 1 3 credits
Storyboarding 3 credits
Color Theory and Light 2 credits
Perspective 3 credits
Costumed Figure Drawing 3 credits
Anatomy 3 credits
TERM 3
Introduction to 3D with Maya 3 credits
Texturing and Shading 1 3 credits
Photoshop for Digital Production 3 credits
Quantitative Principles 1 3 credits
Digital Photography 2 credits
TERM 4
Art History 2 3 credits
Animation and Visual Effects 1 3 credits
Hard Surface Modeling 1 3 credits
History and Principles of Animation 3 credits
Digital Painting 3 credits
Artwork by Geoff Loo

Artwork by Nitesh Nagda
TERM 5 TERM 9
Digital Sculpting 3 credits Dynamic Effects 3 or 3 credits
Lighting and Rendering 1 3 credits Look Development
Animation and Visual Effects 2 3 credits Quantitative Principles 2 3 credits
Introduction to Compositing 3 credits Character Rigging Fundamentals 3 credits
Animal Drawing 3 credits Houdini 3 credits
Elective 300 3 credits
TERM 6
Character Animation 1 3 credits TERM 10
HD Digital Filmmaking 3 credits Dynamic Effects 4 or 3 credits
for Visual Effects Lighting and Rendering 4
Hard Surface Modeling 2 3 credits Social Science 3 credits
Art of Compositing 3 credits Character Rigging for Production 3 credits
Language Arts 2 3 credits Narrative Structure 3 credits
Elective 400 3 credits
TERM 7
Dynamic Effects 1 3 credits TERM 11
Matchmoving and Integration 3 credits Oral Communication 3 credits
Advanced Compositing 3 credits Demo Reel (1) 3 credits
Lighting and Rendering 2 3 credits Demo Reel (2) 3 credits
Digital Sets 3 credits Elective 410 3 credits
TERM 8 TERM 12
Dynamic Effects 2 3 credits Portfolio Preparation 3 credits
Game Creation 1 3 credits Demo Reel (3) 3 credits
Texturing and Shading 3 3 credits Demo Reel (4) 3 credits
Lighting and Rendering 3 3 credits Elective 420 3 credits
Character Animation 2 3 credits

BFA ELECTIVES
ELECTIVE 300
Digital Matte Painting 3 credits
Props and Weapons for Games 3 credits
ELECTIVE 400
Character Modeling and Sculpting 3 credits
Creature Animation 1 3 credits
ELECTIVE 410
Creature Modeling and Sculpting 3 credits
Houdini 2 3 credits
Previsualization and Animatics 3 credits
ELECTIVE 420
Maya Modules 3 credits
Advanced Digital Sculpting 3 credits
Artwork by Daniel Kho

Artwork by Malcom Molesley
GAMES CONCENTRATION
TERM 5 TERM 9
Digital Sculpting 3 credits Quantitative Principles 2 3 credits
Game Design 3 credits Character Rigging Fundamentals 3 credits
Animation and Visual Effects 2 3 credits Games Creation 3 3 credits
Introduction to Compositing 3 credits Houdini 3 credits
Hard Surface Modeling 2 3 credits Elective 300 3 credits
TERM 6 TERM 10
Props and Weapons for Games 3 credits Narrative Structure 3 credits
Animal Drawing 3 credits Game Creation 4 3 credits
Lighting and Rendering 1 3 credits Social Science 3 credits
Game Creation 1 3 credits Visual Effects for Games 1 3 credits
Language Arts 2 3 credits Elective 400 3 credits
TERM 7 TERM 11
Character Modeling and Sculpting 3 credits Oral Communication 3 credits
Character Animation 1 3 credits Demo Reel (1) 3 credits
Level Design 3 credits Demo Reel (2) 3 credits
Environment Creation for Games 3 credits Elective 410 3 credits
Texturing and Shading for Games 3 credits
TERM 12
TERM 8 Portfolio Preparation 3 credits
Digital Sets 3 credits Demo Reel (3) 3 credits
Character Creation for Games 3 credits Demo Reel (4) 3 credits
Game Creation 2 3 credits Elective 420 3 credits
Animation for Games 3 credits
Dynamic Effects 1 3 credits

GAMES
CONCENTRATION
ELECTIVES
ELECTIVE 300
Digital Matte Painting 3 credits
Lighting and Rendering 2 3 credits
ELECTIVE 400
Creature Animation 1 3 credits
Dynamic Effects 2 3 credits
ELECTIVE 410
Houdini 2 3 credits
Character Rigging for Production 3 credits
Creature Modeling and Sculpting 3 credits
ELECTIVE 420
Advanced Digital Sculpting 3 credits
Maya Modules 3 credits
Artwork by Jeremiah Ong

Artwork by Alec Hunstad
PROGRAMS: CERTIFICATE
DIGITAL PRODUCTION FOR ENTERTAINMENT (DP)
An intensive program built on a 3D generalist foundation offering emphasized study in games, modeling
and texturing, visual effects, or character and creature animation.
The objective of the DP program is to produce entry-level production artists who are versed in
foundational arts and production skills.
Gnomon’s certificate in Digital Production for Entertainment (DP) is a full-time, two-year program. The
DP course of study is intended for adult students who desire entry into careers as digital artists in the
video game, visual effects, or film industries, and have a background in art. The curriculum is designed
to expose students to production-specific concepts, tools, and techniques. Projects are geared towards
providing students with real-world experience. Students follow a pre-set curriculum and are
automatically registered into required courses each term. Digital class sizes are limited to eighteen (18)
students.
Gnomon offers five areas of emphasized study for students enrolled in the Digital Production for
Entertainment (DP) program. All graduates of this program have the same outcomes and placement
opportunities regardless of chosen area of emphasis.
- Modeling and Texturing
- Character and Creation Animation
- Visual Effects Animation
- 3D Generalist
- Games
Gnomon’s instructors are established industry professionals with, at minimum, three (3) years of
production experience. In addition to being graded and evaluated in every course, students benefit from
in-depth feedback on their work through regular, formal critiques, ensuring the development of artistic,
technical, and problem-solving skills.

Program Specifics:
- Eight (8) 10-week terms
- Two (2) years to complete
- 1,560 instructional clock hours
- 147 quarter credit units
Course Delivery:
- Most courses consist of three (3) hours of
lecture and demonstration per week
- A typical full-time student will spend two
(2) out-of-class hours for each class hour
- Some courses may be offered online, with
approval
week
additional on-campus, studio lab time or
the Library to complete assignments
The Digital Production for Entertainment program

requires a minimum of 147 earned quarter credit units to
complete, defined as:
- Credit Hour: One quarter credit hour
equals 30 units comprised of the following
academic activities:
- One clock hour in a didactic learning
environment = 2 units
- One clock hour in a supervised laboratory setting
of instruction = 1.5 units
- One hour of out-of-class work and/or preparation
for the didactic learning environment or
supervised laboratory setting of instruction
that is designed to measure the student’s
achieved competency relative to the required
subject matter objectives = 0.5 unit
Financial aid is available for those who qualify.

This school is authorized under Federal law to
enroll nonimmigrant alien students.
Artwork by Tiffany Yung

Artwork by Edvige Faini
EDUCATION FOR CAREERS IN 3D ARTISTRY

Gnomon’s courses are specifically designed to develop entry-level production artists who possess both
fundamental and specific skills that are transferable across media.
After studying fundamentals during the first two (2) terms, the remainder of the program allows for
emphasized study in an area of interest. The program’s outcomes are consistent for all graduates
regardless of emphasis.
Modeling and Texturing Utilizing industry software such as Houdini, Maya, Nuke,
Students studying Modeling and Texturing are guided After Effects, Photoshop, Realflow, and more, Gnomon’s
through the process of 3D asset creation for films and Visual Effects Animation curriculum offers students an
games. To develop a strong understanding of form, texture, indepth skill set relevant to the demands of the industry.
and detail, students are trained in the fundamentals of
anatomy, sculpture, painting, and design. With a balance of 3D Generalist
foundational education and software-based technical Students studying Gnomon’s 3D Generalist curriculum are
training, Gnomon’s Modeling and Texturing curriculum offers trained on all aspects of 3D production. This area of study
students an in-depth skill set relevant to the demands of the is ideal for students who desire a breadth of knowledge
industry. and a skill set that allows them to work in a variety of
fields across the various entertainment industries.
Character and Creature Animation Curriculum covers multiple subjects with a focus on tools,
Students studying animation at Gnomon are trained to processes, and workflow, utilizing industry software such
capture believable and appealing performances in their as Maya, ZBrush, Photoshop, After Effects, Nuke, Mari,
characters and creatures through the application of Houdini, and more. With a balance of foundational
fundamental animation concepts, software techniques, and education and software-based technical training,
acting skills. Coursework covers a variety of animation Gnomon’s 3D Generalist courses offer students an
methods including traditional and computer, as well as extensive skill set relevant to the demands of the industry.
technical character rigging. With a balance of foundational
education and software-based technical training, Gnomon’s Games
Character and Creature Animation curriculum offers students Students studying Gnomon’s Games curriculum are
an in-depth skill set relevant to the demands of the industry. trained on the tools, processes and workflows of game
production utilizing industry software such as Unreal 4,
Visual Effects Animation Maya, ZBrush, Substance Painter and Designer,
Students studying Visual Effects explore the various Photoshop, Marmoset Toolbag, and more. Courses cover
processes by which imagery is created or manipulated multiple subjects and provide opportunities to create
outside of a live action shot, including the blending of realtime artwork across a variety of disciplines. With a
background plates or matte paintings with 3D architectural, balance of foundational education and software-based
character, or elemental assets. Course content includes technical training, Gnomon’s Games curriculum offers
lighting and filming techniques, tracking and compositing of students an extensive and in-depth skill set relevant to the
elements, and creating both particle and dynamic effects. demands of the industry.



ATTENDANCE
or termination.
STUDENT EVALUATIONS
Questions regarding student evaluations may be directed to the Education Office via email at
education.admin@gnomon.edu.
REPEATING A COURSE
All students in the Bachelor of Fine Arts in Digital Production or in the Digital Production program must
pass all courses to remain in good standing. If a student earns a fail grade of an “F,” the student must
retake the course at their cost until a passing grade is earned. Repeated failure to pass any course may
result in jeopardizing the student’s ability to graduate, academic standing, program completion within
the maximum time frame offered, or ability to advance within the program. Gnomon strongly advises
students to retake any course where the earned grade is below a 2.0 (C). Please refer to Gnomon’s
Satisfactory Academic Policy (SAP) standards.
STUDENT WORK

Artwork by Fifi Then
CHANGE OF PROGRAM GRID

Students wishing to change their educational emphasis, and thereby their program grid, must submit a
written request to the Registrar no later than week seven (7) of the term. A student’s decision to change
their educational emphasis may require the student to meet with an Education Academic Mentor, take
additional requirements of the new grid, and postpone program completion and graduation.
Students may contact the Registrar via email at registrar@gnomon.edu or by calling 323.466.6663.
COURSE SUBSTITUTIONS
Any student within the last four (4) quarters/terms of a certificate program may request a course
substitution. Students must fill out a Course Substitution Request Form and meet with the Director of
Education, or assigned. Course Substitution Request Forms are available in the Education
Office, or Registrar. Substitutions are evaluated and approved by the Education Office with the best
interest of the student in mind.
Substitutions may be declined for many reasons, including but not limited to: improperly filled out form,
schedule conflict, tenure, space availability, academic pacing, or GPA.
If the request is approved, students must deliver the signed Course Substitution Request Form to the
Registrar.

Artwork by Gary Tang
ADMISSIONS: CERTIFICATE
All applicants to our full-time programs must:
- Complete an online application form
- Submit a portfolio that demonstrates artistic ability as outlined in the published portfolio
guidelines
- Pay an application fee
- Complete an interview by an Admissions representative
All portfolios can be sent digitally to admissions@gnomon.edu.
possible to obtain their desired start dates. See the Gnomon Academic Calendar for further information
on start dates.
Once all components of the application have been completed, the Admissions Review Committee will
survey the application. A student may be denied admission for failure to meet any of the requirements
listed above or if determined incapable of benefiting from the educational goals of the program.
Applicants denied acceptance are encouraged to obtain further course advisement from the Admissions
Office. Additionally, the Admissions Office reserves the right to revoke acceptance from any student
who breaks Gnomon’s school policies prior to attendance.

GRADUATION:
CERTIFICATE
DIGITAL PRODUCTION FOR
ENTERTAINMENT (DP)
Students seeking a Certificate in the Digital Production for
Entertainment program must earn 147 quarter credit units
and maintain Satisfactory Academic Progress policy
standards. Students must complete the entire program
within 1.5 times the normal program length. Please review
all Satisfactory Academic Progress (SAP) policies and
procedures in the Gnomon Student Catalog that clarify
the policies between both qualitative (students must
meet a cumulative and quarterly 2.0 grade average), and
quantitative standards (students must complete the
program within 150% of maximum time allotted), which is
aligned with Department of Education guidelines.
Satisfactory arrangements for all exit processes must be

met, and may include financial obligations, graduate
interviews, and financial aid exit interviews. Upon
completion of the above and all classroom education and
training, the student will be issued a Certificate from
Gnomon attesting to the successful completion of the
program.
Artwork by Danny Mak

DIGITAL PRODUCTION FOR
ENTERTAINMENT (DP)
COURSE GRID
Digital Production for Entertainment core
curriculum. Course descriptions may be found
in Appendix 2.
TERM 1
Introduction to 3D with Maya 3 credits
Drawing Fundamentals 1 3 credits
Storyboarding 3 credits
Overview of Digital Production 3 credits
TERM 2
Hard Surface Modeling 1 3 credits
Introduction to Compositing 3 credits
Animation and Visual Effects 1 3 credits
History and Principles of Animation 3 credits
Character Sculpture 1 3 credits
Artwork by Nathan Boyd

Artwork by Dean Sanchez
MODELING AND TEXTURING

TERM 3 TERM 6
Digital Sculpting 3 credits Character Creation for Games 3 credits
Hard Surface Modeling 2 3 credits Digital Sets 3 credits
Lighting and Rendering 1 3 credits Character Rigging for Production 3 credits
Animation and Visual Effects 2 3 credits Environment Creation for Games 3 credits
Character Sculpture 2 3 credits Character Development 3 credits
Anatomy for Artists 3 credits Houdini 1 3 credits
TERM 4 TERM 7
Character Modeling and Sculpting 3 credits Demo Reel 6 credits
Texturing and Shading 3 3 credits Career Realities 3 credits
Lighting and Rendering 2 3 credits Look Development 3 credits
Art of Compositing 3 credits Elective 3 credits
Digital Photography 3 credits Reel Lab 1 1.5 credits
Visual Structure 3 credits Reel Lab 2 1.5 credits
Reel Lab 3 1.5 credits
TERM 5
Creature Modeling and Sculpting 3 credits TERM 8
Texturing and Shading 4 3 credits Demo Reel 6 credits
Character Rigging Fundamentals 3 credits Portfolio & Resume Workshop 3 credits
Advanced Compositing 3 credits Advanced Digital Sculpting 3 credits
Maya Modules 3 credits Elective 3 credits
Expressions and Scripting 3 credits Reel Lab 4 1.5 credits

Artwork by Leticia Kao and Larissa Docolas
CHARACTER AND CREATURE ANIMATION

TERM 3 TERM 6
Character Animation 1 3 credits Character Animation 4 3 credits
Timing for Animation 3 credits Creature Animation 2 3 credits
Lighting and Rendering 1 3 credits Character Rigging for Production 3 credits
Animation and Visual Effects 2 3 credits Matchmoving and Integration 3 credits
Character Design 3 credits Motion Capture 3 credits
Anatomy for Artists 3 credits Previsualization and Animatics 3 credits
TERM 4 TERM 7
Character Animation 2 3 credits Demo Reel 6 credits
Improvisational Acting 3 credits Career Realities 3 credits
Lighting and Rendering 2 3 credits Story Development 3 credits
Visual Structure 3 credits Reel Lab 2 1.5 credits
TERM 5
Character Animation 3 3 credits TERM 8
Creature Animation 1 3 credits Demo Reel 6 credits
HD Digital Filmmaking for Visual 3 credits Acting for Animators 3 credits
Effects Elective 3 credits
Animation for Games 3 credits Reel Lab 5 1.5 credits

Artwork by Edvigle Faini
VISUAL EFFECTS ANIMATION

TERM 3 TERM 6
Dynamic Effects 1 3 credits Dynamic Effects 4 3 credits
Houdini 1 3 credits Houdini 4 3 credits
Lighting and Rendering 1 3 credits Lighting and Rendering 4 3 credits
Animation and Visual Effects 2 3 credits Matchmoving and Integration 3 credits
Expressions and Scripting 3 credits Motion Capture 3 credits
Character Animation 1 3 credits Previsualization and Animatics 3 credits
TERM 4 TERM 7
Dynamic Effects 2 3 credits Demo Reel 6 credits
Houdini 2 3 credits Career Realities 3 credits
Lighting and Rendering 2 3 credits Liquid Simulations 3 credits
Scripting for Production 3 credits Reel Lab 2 1.5 credits
TERM 5
Dynamic Effects 3 3 credits TERM 8
Houdini 3 3 credits Demo Reel 6 credits
Lighting and Rendering 3 3 credits Portfolio & Resume Workshop 3 credits
Advanced Compositing 3 credits Visual Effects Design 3 credits
HD Digital Filmmaking for Visual 3 credits Elective 3 credits
Effects Reel Lab 4 1.5 credits
Character Rigging Fundamentals 3 credits Reel Lab 5 1.5 credits

Artwork by Sardar Jaf
3D GENERALIST
TERM 3 TERM 6
Lighting and Rendering 1 3 credits Lighting and Rendering 4 3 credits
Character Animation 1 3 credits Dynamic Effects 2 3 credits
Digital Sculpting 3 credits Character Rigging for Production 3 credits
Anatomy for Artists 3 credits Previsualization and Animatics 3 credits
Hard Surface Modeling 2 3 credits Matchmoving and Integration 3 credits
Animation and Visual Effects 2 3 credits Houdini 1 3 credits
TERM 4 TERM 7
Lighting and Rendering 2 3 credits Demo Reel 6 credits
Character Animation 2 3 credits Career Realities 3 credits
Character Modeling and Sculpting 3 credits Look Development 3 credits
Visual Structure 3 credits Elective 3 credits
Art of Compositing 3 credits Reel Lab 2 1.5 credits
TERM 5
Lighting and Rendering 3 3 credits TERM 8
Dynamic Effects 1 3 credits Demo Reel 6 credits
HD Digital Filmmaking for Visual 3 credits Digital Matte Painting 3 credits
Effects Elective 3 credits
Advanced Compositing 3 credits Reel Lab 5 1.5 credits

Artwork by Jin Jo Phang
GAMES
TERM 3 TERM 6
Lighting and Rendering 1 3 credits Game Creation 2 3 credits
Digital Sculpting 3 credits Expressions and Scripting 3 credits
Anatomy of Games 3 credits Character Creation for Games 3 credits
Game Design 3 credits Houdini 1 3 credits
Hard Surface Modeling 2 3 credits Visual Effects for Games 1 3 credits
Animation and Visual Effects 2 3 credits Dynamic Effects 1 3 credits
TERM 4 TERM 7
Game Creation 1 3 credits Demo Reel 6 credits
Character Modeling and Sculpting 3 credits Career Realities 3 credits
Props and Weapons for Games 3 credits Game Creation 3 3 credits
Visual Structure 3 credits Elective 3 credits
Character Animation 1 3 credits Reel Lab 2 1.5 credits
TERM 5
Level Design 3 credits TERM 8
Character Rigging Fundamentals 3 credits Demo Reel 6 credits
Environment Creation for Games 3 credits Portfolio & Resume Workshop 3 credits
Texturing and Shading for Games 3 credits Game Creation 4 3 credits
Digital Sets 3 credits Elective 3 credits
Animation for Games 3 credits Reel Lab 4 1.5 credits

Artwork by Odysseas McCammon
AVOCATIONAL: FOUNDATION
FOUNDATION IN ART AND DESIGN
The objective of the Foundation in Art and Design is to prepare adult students for entry into vocational
or degree-level art and design scholastic programs.
Foundation in Art & Design offers up to one (1) year of fundamental art education for individuals
interested in building a well-rounded portfolio. Students follow a quarterly curriculum and are given the
flexibility to enroll in any stand-alone quarter they choose, allowing them to begin their studies at the
point most suitable to their existing proficiency. Foundation courses provide students an opportunity to
assess their interest and proficiency in the visual arts, while developing fundamental skills that are
essential building blocks to the subsequent development of a vocational skill set.
Gnomon’s instructors are industry professionals with, at minimum, three (3) years of related practical
work experience in the subject area(s) taught. In addition to being graded and evaluated in every course,
students benefit from feedback on their work through critiques. Small class sizes are limited to eighteen
(18) students or fewer, offering students access to each of their instructors.
The Foundation in Art and Design is ineligible for a degree/certificate of completion, is not vocational in
nature, and does not lead to initial employment or placement services.

Study Specifics:
- Four (4) courses per term

- Four (4)10-week terms, up to one year
of study
- 120 total clock hours, per term
- 12 quarter credit units, per term
Course Delivery:
- Most courses consist of three (3) hours

of lecture and demonstration per week
- A typical student will spend two (2)
hours of out-of-class for each course
hour
week
additional on campus, studio lab time or
the Library to complete assignments
Artwork by Sameth Sim

Artwork by Steve Makowski



Artwork by Elliot Waters
ATTENDANCE
or termination.
STUDENT EVALUATIONS
STUDENT WORK

Artwork by Beat Reichenbach
ADMISSIONS: FOUNDATION
Students interested in enrolling in the Foundation in Art and Design course of study must:
- Complete a consultation with an Admissions representative
- Be 18 years or older
- Complete an online application
- Pay a $25.00 enrollment fee
possible to obtain their desired start dates (See the Gnomon Academic Calendar). A student may be
denied admission for failure to meet any of the requirements listed above. Gnomon reserves the right to
close any course or limit the enrollments for any course. Additionally, Gnomon reserves the right to deny
enrollment to any student who violates Gnomon’s school policies.

FOUNDATION IN ART &
DESIGN COURSE GRID
Foundation in Art and Design core curriculum.
Course descriptions may be found
in Appendix 3.
TERM 1
Life Drawing 3 credits
Drawing in 3D 3 credits
TERM 2
Digital Painting 3 credits
Character Sculpture 1 3 credits
Character Design 3 credits
TERM 3
Digital Painting 2 3 credits
Color Theory and Light 3 credits
Animal Drawing 3 credits
Prop and Weapon Design 3 credits
TERM 4
Creature Design 3 credits
Gesture Drawing 3 credits
Environment Design 3 credits
Vehicle and Mech Design 3 credits
Artwork by Caroline Ng

Artwork by Austin Heald
AVOCATIONAL: INDIVIDUAL COURSES

Gnomon offers individual courses on campus. The individual courses are designed for artists seeking
further education to improve their skills or advance marketability in the industry. Courses cover a variety
of subjects within film, game, and visual effects production.
- Available evenings and weekends to accommodate work schedules
- Curricula and projects are geared toward providing students relevant skills
- Instruction from industry professionals
- Studio lab time is available
- Courses meet once per week for 10 weeks and are available four (4) terms per year
Individual courses are ineligible for a degree/certificate of completion, are not vocational in nature, and
do not lead to initial employment or placement services.

Artwork by Logan Kehoe



Artwork by Danny Kim
ATTENDANCE
or termination.
STUDENT EVALUATIONS
STUDENT WORK

Artwork by Ferdinand Vazquez
ADMISSIONS: INDIVIDUAL COURSES

Individual courses are available for enrollment without portfolio submission, however, it is strongly
recommended that prospective students communicate with Gnomon’s Admissions Office for course
advisement prior to registering. In some cases, prerequisites may be required. Gnomon reserves the
right to close any course or limit the enrollments for any course. Students must be eighteen (18) or
older. Additionally, Gnomon reserves the right to reject individual course enrollment to any student who
violates Gnomon’s school policies.
Certain avocational courses may transfer into Gnomon’s degree or certificate programs.
For more information, please contact admissions@gnomon.edu.

Study Specifics:
- Diverse course selection available
- Courses meet once per week for ten
(10) weeks
- Most courses are three (3) units/30
hours
- Courses are available during
morning, afternoon and evening hours
Course Delivery:
- Most courses consist of three (3) hours
of lecture and demonstration per week
- A typical student will spend two (2)
hours of out-of-class for each course
hour
week
additional on-campus, studio lab time
and the Library to complete assignments
Artwork by Sichen Zhang

INDIVIDUAL COURSES LIST
Individual course descriptions may be found
in Appendix 4.
Advanced Compositing Environment Creation for Games Texturing and Shading for
Advanced Digital Sculpting Environment Design Games 1
Anatomy for Artists Expressions and Scripting Texturing and Shading for
Anatomy of Games Game Creation 1 Games 2
Animal Drawing Game Creation 2 Timing for Animation
Animation and Visual Effects 1 Game Creation 3 Vehicle and Mech Design
Animation and Visual Effects 2 Game Creation 4 Visual Effects Design
Art of Compositing Game Design Visual Effects for Games 1
Character Animation 1 Gesture Drawing Visual Effects for Games 2
Character Animation 2 Hard Surface Modeling 1
Character Animation 3 Hard Surface Modeling 2
Character Animation 4 History and Principles of
Character Creation for Games Animation
Character Design Houdini 1
Character Modeling and Sculpting Houdini 2
Character Rigging Fundamentals Houdini 3
Character Rigging for Production Houdini 4
Character Sculpture 1 Introduction to 3D with Maya
Character Sculpture 2 Introduction to Compositing
Color Theory and Light Level Design
Costumed Figure Drawing Life Drawing
Creature Animation 1 Lighting and Rendering 1
Creature Animation 2 Lighting and Rendering 2
Creature Design Lighting and Rendering 3
Creature Modeling and Sculpting Lighting and Rendering 4
Digital Matte Painting Liquid Simulations
Digital Painting 1 Look Development
Digital Painting 2 Photoshop for Digital
Digital Photography Production
Digital Sculpting Prop and Weapon Design
Digital Sets Props and Weapons for Games
Drawing Fundamentals 1 Scripting for Production
Drawing Fundamentals 2 Storyboarding
Drawing in 3D Stylized Character Creation
Dynamic Effects 1 Texturing and Shading 1

Artwork by Beat Reinchenbach
POLICIES: INDIVIDUAL COURSES

HOW TO DROP A COURSE
Drop requests must be submitted via email to: registrar@gnomon.edu.
The request must include the following:

- Student’s full legal name and Gnomon student ID number
- The date of request submission
- Name of the course(s) being dropped
- Briefly, the reason for dropping
The effective date of the drop is the day the drop request is received.
Failure to officially drop a course will result in a failing grade.
WITHDRAWALS & REFUNDS

Students have the right to withdraw from the program of instruction at any time. If 60% or less of the
period of attendance has been completed, a refund may be due.
Drop/refund requests must be addressed to registrar@gnomon.edu. Tuition refunds are based on the
date the written drop request is received via email. Refunds will be made within 45 days of the date of
cancellation. Refunds will be processed using the same method of payment used for purchase. Please
refer to the confirmation letter for further details.
Requests will be processed during regular business hours: Monday through Friday from 9:00 AM - 6:00 AM

Artwork by Rico Suyang Wang
AVOCATIONAL: DISTANCE EDUCATION

Gnomon offers individual courses through distance education. The individual courses are designed for
artists seeking further education to improve their skills or advance marketability in the industry. Courses
cover a variety of subjects within film, game, and visual effects production.
Distance Education courses are designed to mirror the learning environment of Gnomon’s physical
courses. The same considerations are applied to students regardless if registering for an on campus or
Distance Education course.
Currently, Distance Education courses are limited to adult students within the state of California, or
outside of the United States.
Distance education courses are ineligible for a degree/certificate of completion, are not vocational in
nature, and do not lead to initial employment or placement services.
For a list of all online course offerings, please visit Gnomon’s Online Courses page on the website.

RESERVATION OF RIGHTS
Gnomon reserves the right to change tuition fees, scheduled dates of courses, course offerings,
instructors, policies, and procedures pursuant to California Code of Regulations (CCR) and California
Education Code (CEC). Gnomon also reserves the right to deny enrollment in courses to any student and
the right to withdraw any student whose conduct fails to comply with the policies, rules, and standards
of Gnomon.
Gnomon has no pending petition in bankruptcy, is not operating as a debtor in possession, has not filed
a petition within the preceding five years, and has not had a petition in bankruptcy filed against it within
the preceding five years that resulted in reorganization under Chapter 11 of the United States
Bankruptcy Code. §94909(a)(12)
STUDENT WORK

Artwork by Alex Martin and Nitesh Nagda
ADMISSIONS: DISTANCE EDUCATION

Students interested in Distance Education courses should first complete the online
“Preparedness Survey.”
- Students may register online. Please see www.gnomon.edu/courses/online/how-to-register

- At least 50% of tuition and fees are required to complete registration
- Space is reserved once a registration form, tuition, and applicable fees have been received
- Confirmation of enrollment is electronically mailed upon receipt of payment
- This transaction receipt can also serve as proof of student status for purchasing educational
software. Please note that not all software manufacturers provide educational prices on their
software
- In some cases, prerequisites may be required
For questions regarding online registration, visit our website at gnomon.edu or call 323.466.6663.
For the online “Preparedness Survey,” please visit:

http://online.gnomon.edu/survey/student-online-class-preparedness.

Study Specifics:
- Courses meet online once per week for
ten (10) weeks
- Most courses are three (3) units/30
hours
- Courses are available during
morning, afternoon and evening hours
Course Delivery:
- Courses are delivered as a live
broadcast on a preset schedule
- Instructors will, at their discretion,
record their course lectures
- Weekly homework and/or final projects
are assigned in every course
- Instructors will provide critiques and
feedback on assignments during course
lecture time
Computer Equipment:
- Students are responsible for providing/
maintaining their own computer equipment,
software, broadband Internet access, and
other material
- The predominant 3D software used is
Autodesk Maya. Adobe Photoshop is also
widely used
- Enrolled students will need to secure a
version of software that is current with or
newer than the one required by the course
- Other software requirements will vary
- Students must meet the minimum system
requirements and are required to have a
webcam and microphone
Courses may transfer to Gnomon’s programs. For

more information, please contact an Admissions
representative.
Artwork by Abhi Thati

Artwork by Cameron Scott
POLICIES: DISTANCE EDUCATION

HOW TO DROP A COURSE
Drop requests must be submitted via email to registrar@gnomon.edu.
The request must include the following:

- Student’s full legal name and Gnomon student ID number
- The date of request submission
- Name of the course(s) being dropped
- Briefly, the reason for dropping
The effective date of the drop is the day the drop request is received.
Failure to officially drop a course will result in a failing grade.
WITHDRAWAL & REFUNDS

Students have the right to withdraw from the program of instruction at any time. If 60% or less of the
period of attendance has been completed, a refund may be due.
Drop/refund request must be addressed to registrar@gnomon.edu. Tuition refunds are based on the
date the written drop request is received via email. Refunds will be made within 45 days of the date of
cancellation. Please refer to the confirmation letter for further details.
Requests will be processed during regular business hours: Monday through Friday from 9:00 AM - 6:00 PM

ATTENDANCE
Student attendance is taken every week by the instructor and is also tracked by the online system. All
students enrolled in an online course are required to have a working webcam for each class session.
Instructors will validate attendance at the beginning of each class using your webcam presence. Failure
to have a working webcam will result in the instructor marking the student absent for class session.
Webcams allow students to communicate directly with the instructor of the class without the
distractions of using the chat module in the application. This helps to facilitate a more interactive
experience for both the student and instructor.
STUDENT SERVICES
Students enrolled in Individual Courses via distance education have access to many of the services
described in the Student Services section of this catalog. Distance education courses are designed to
not require services that are only accessible on campus, such as the physical lending library, on-campus
computer labs, or walk-in mentoring and tutoring, however access to similar services or resources may
be arranged by contacting admissions@gnomon.edu.

Artwork by Allan Bernardo
INTERNATIONAL STUDENTS
Gnomon strongly recommends that International students review and familiarize themselves with all of
the language on any legal document pertaining to their nonimmigrant status.
International students will need to work with either an attorney of their choosing or the appropriate
Gnomon staff members with questions pertaining to their nonimmigrant status.
While Gnomon will assist in all nonimmigrant issues pertaining to the program, it is strongly encouraged
that students utilize International legal counsel. Please be aware that Gnomon cannot guarantee the
outcome or decision rendered by any governing federal agency that falls under the U.S. Department of
Homeland Security.
All international students enrolled in a full-time program must pay a nonrefundable $150.00 international
student processing fee.
International applicants must meet the same admission requirements as U.S. citizens. In addition to the
application, a Certificate of Finances must be completed and submitted with the application. All
documents must be accompanied by an official English translation and evaluation from an approved
service provider.
All applicants are required to speak with an Admissions Representative via phone or in person to ensure
that their program of interest is appropriate. Gnomon does not offer English language services.
Applicants from countries in which the official language is not English are required to submit official
evidence of English language proficiency. For examples of this requirement please see below in
Evidence of English Proficiency Requirement.

While Gnomon requires students to speak and
read English fluently to be admitted and
participate in a course, any student whose
primary language is not English may obtain
translation services before enrollment for the
purposes of understanding the terms of the
Enrollment Agreement.
Accordingly, if English is not the primary

language of the student completing this
agreement, and the student is unable to
understand the terms and conditions of the
agreement, the student has the right to obtain a
clear explanation of the terms and conditions
and all cancellation and refund policies in his or
her primary language.
Translation services for the enrollment

agreement will be provided by a school official
upon request at no cost. §94906(a) & §94906 (b)
If you have any further questions regarding

international student information/services,
please contact registrar@gnomon.edu.

Artwork by Apple QingYang Zhang
EVIDENCE OF ENGLISH PROFICIENCY REQUIREMENT

Students must be able to read, write, speak, understand, and communicate in English. All applicants
whose native language is not English are required to submit the results of the TOEFL or IELTS as
evidence of English proficiency.
The minimum requirements by Gnomon are as follows:

- TOEFL score of at least 75 on the Internet-based test (IBT)
- IELTS band score of at least 6 on a 9-point scale
Applications from international students may not be reviewed if an English proficiency score is
unavailable or not included.
CHANGE OF PROGRAM GRID

International students who change their area of emphasis, and thereby their program grid, must consult
with the Registrar to review their nonimmigrant status and make any necessary adjustments. Please be
advised that grid changes are not recommended for International students due to United States
Citizenship and Immigration Services (USCIS) time restraints and regulations. To set up an appointment
to discuss these regulations, please contact registrar@gnomon.edu.

Artwork by Rico Suyang Wang
TRANSFER & TRANSFER OF CREDIT

TRANSFER CREDIT
All transfer of credit requests must be received during the application process prior to the start of the
applicable full-time program. A maximum of 30% of total credits required for any Gnomon program are
able to transfer, and must be submitted via the Transfer of Credit Evaluation Request Form. Once the
Transfer of Credit Evaluation Request Form is successfully completed, students will receive an
evaluation of transferable credit with the approved transfer credit decision during Orientation.
ARTICULATION/TRANSFER AGREEMENT
Gnomon has not entered into an articulation or transfer agreement with any other college or university.
NOTICE CONCERNING TRANSFERABILITY OF

CREDITS AND CREDENTIALS EARNED AT GNOMON
The transferability of credits you earn at Gnomon is at the complete discretion of an institution to which
you may seek to transfer. Acceptance of the credits you earn in the educational program is also at the
complete discretion of the institution to which you may seek to transfer. If the credits that you earn at
this institution are not accepted at the institution to which you seek to transfer, you may be required to
repeat some or all of your coursework at that institution.
For this reason, you should make certain that your attendance at this institution will meet your
educational goals. This may include contacting an institution to which you may seek to transfer after
attending Gnomon to determine if your credits will transfer. §94909(a)(15)
Questions regarding transfer credit may be directed to the Registrar via email at registrar@gnomon.edu.

Artwork by Ben Sartory
TRANSFER OF CREDIT FROM COURSES TAKEN FROM OTHER

INSTITUTIONS
Transfer of credit will be considered toward a Gnomon certificate or degree only if:
- Earned at a regionally accredited post-secondary institution (or at a foreign academic institution
recognized by its government)
- Previously earned credit is no more than five (5) years old
- A grade of A, B, C, or Pass was given
Transfer of credits submitted to fulfill coursework requirements will be measured against Gnomon’s
curriculum and expectations of student learning. Gnomon reserves the right to recognize or refuse
transfer credit as necessary for student achievement.
Typically, studio art and/or software course credits do not transfer due to Gnomon’s highly specialized
curriculum. As a transfer applicant, students must submit official transcripts of previous college work.
Students may be required to submit transfer course content, course syllabi, and course descriptions. It is
the student’s responsibility to ensure that Gnomon receives all transfer request documents.
TRANSFER OF CREDIT APPEAL PROCESS

Transfer of credit appeals will be considered on a case-by-case basis. A student may submit a written
appeal of a transfer of credit decision within five (5) business days of the decision to the Director of
Education (or assignee).
The appeal should, at a minimum, include:

- A written appeal
- Official transcripts
- The course syllabus, textbook(s), exam(s), and any other pertinent materials to demonstrate
comparability
The outcome of an appeal will be approval or denial and all decisions are final. The student will be
notified in writing of the results of the appeal within ten (10) business days of receipt. The notification
will indicate any restrictions or conditions pertaining to the decision.

Artwork by Clarissa Pena
TRANSFER OF CREDIT FROM COURSES TAKEN AT GNOMON

Gnomon encourages prior and/or current students to continue their education. All courses taken at
Gnomon that are applicable to a student’s program of choice will be considered if:
- The course was taken within the last five (5) years
- The courses were completed with a C (2.0) or better
- The course is an equitable transfer
- The course was taken prior to program enrollment
Any prior or current Gnomon student must meet with the Admissions Office to determine the viability of
transfer, meet admission requirements for the transfer program, including submission of required
materials, and complete a Transfer of Credit Evaluation Form. All coursework for transfer credit must be
approved by the Director of Education (or designee). On approval, credit will be noted on the transcript.
The grade received will be used in programmatic GPA calculations.
TRANSFER BETWEEN GNOMON PROGRAMS

In order to transfer between Gnomon programs, students must:
- Meet with the Admissions Office to determine the viability of transfer
- Meet with the Education Office for approvals
- Meet with the Registrar for class schedule
- Fulfill all necessary admissions requirements
Upon acceptance to the new program, students must follow all requirements of the transfer policy.

COURSE PROFICIENCY: CERTIFICATE SEEKING STUDENTS ONLY

Students who have proficiency in a required course based on previous education and/or experience may
petition for course proficiency. To petition out of a course based on proficiency, a student must meet
with the Education Office, provide evidence of proficiency, and complete a Course Proficiency form.
The Education Office will then evaluate the request to determine if an examination or other assessment
is required to grant a course proficiency waiver. If an examination is required, the student must achieve
at least 70% proficiency in the course material to be granted the waiver.
Student seeking proficiency must submit the Course Proficiency form two (2) weeks (14 days) prior to
the following term.
ADVANCED PLACEMENT (AP) CREDIT

Gnomon grants general education course credit towards the BFA in Digital Production degree for
successful completion of examinations in the Advanced Placement Program of the College Entrance
Examination Board. Only general education courses may be considered, and a score of 4 or 5 on the AP
exam must be presented as an official score report.

Artwork by Michael Sheffels
TUITION, FEES & PAYMENT OPTIONS

PAYING TUITION
RETURNING AND INCOMING STUDENTS
Tuition and student fees are due no later than the first Friday of the term.
Financial Aid students are responsible for any difference in tuition not covered by federal funding.
Please be advised:
Students are responsible for determining the tuition amount owed and for making payment prior to the
above deadline. Students should reference the Gnomon Student Web Portal to access the total amount
due and to make timely payment.
In the event tuition payments may be delayed, payment arrangements must be secured by the above
deadlines. Requests must be submitted in writing (email is acceptable) to the Student Accounts Office
via email at billing@gnomon.edu.

Artwork by Diana Topalian
LATE FEES/PENALTIES
Payments made more than five (5) business days after the scheduled due date are subject to a $45 late
fee. If the payment remains delinquent after ten (10) business days, a hold will be
placed on all of the student’s Gnomon accounts and he/she will not be permitted to attend courses until
payment is rectified. Continued delinquent payment may result in the student account being sent to
collections.
For Post 9/11 GI Bill® (Ch 33) students and VA Vocational Rehabilitation and Employment (Ch 31)
students, our tuition policy complies with 38 USC 3679(e) which means Post 9/11 and Vocational
Rehabilitation and Employment students will not be charged or otherwise penalized due to a delay in
VA tuition and fee payments. For eligibility consideration, a Post 9/11 GI Bill student must submit a
VA Certificate of Eligibility (COE) and a Vocational Rehabilitation Student must provide a VAF 28-1905
form. All persons seeking enrollment must meet the general admissions policies. Those seeking to use
VA Education Benefits must submit all prior transcripts for a transfer evaluation and submit one of the
following a 22-1990, 22-1995, 22-5490, or a 22-5495 to the VA.
GI Bill® is a registered trademark of the U.S. Department of Veterans Affairs (VA). More information
about education benefits offered by VA is available at the official U.S. government website at www.
benefits.va.gov/gibill
THIRD PARTY PAYMENTS

Please be advised that Federal law dictates that Gnomon is to maintain privacy regulations regarding
student affairs and communications for students who are of legal age. Should payment arrangements
be made by anyone other than the student, it is the student’s responsibility to relay the information to
said party regarding payment deadlines or any subsequent changes to tuition.

Artwork by Ziyan Zhang
PAYMENT OPTIONS
Student tuition payments, or payment arrangements (Gnomon payment plan, third party payers, financial
aid, and/or private loans) are required to officially complete registration and reserve a space in the
course/program.
FINANCIAL AID
Gnomon offers Federal Student Aid for qualifying students in the Digital Production for Entertainment
(DP), Entertainment Design & Digital Production (EDDP) certificate programs, and the Bachelor of Fine
Arts in Digital Production degree program. Full-time students who are U.S. citizens or eligible noncitizens
may be eligible to receive Pell Grants and/or Direct Loan financial assistance.
Students interested in applying for aid should contact the Financial Aid Office at 323.466.6663 or via
email at finaid@gnomon.edu.
PAYMENT METHODS
Gnomon accepts for payment:
- Company and personal checks
- All major credit cards
- Corporate purchase orders
- Gnomon payment plans (see below)
- Money orders
- Cashier’s checks
- Wire Transfer
- Private education loans
- International payment through Flywire

Artwork by Spyro Chipain
Gnomon Payment Plans are contractual agreements with students to defer payment over the term:
- Tuition is divided into three installments plus a $75 administrative charge
- The first installment of 50% is due at the time of registration
- Remaining installments are due over the course of the term
- Payments made more than five (5) business days after a scheduled due date are subject to a $45
late fee
- Continued failure to make payment will result in the student’s computer account being frozen and
suspension from course until payment is rectified
Private Student Loans are available, but must be coordinated with the Financial Aid Office:
- Gnomon offers loans through College Avenue and Sallie Mae
- Prior to submitting a loan application, students must speak with Admissions and Financial Aid
- Students must be a US citizen, a US national, or a permanent resident, and must be creditworthy.
A co-signer may also be required
If you have further questions regarding tuition, fees or payment options, please contact the Student
Accounts Office via email at billing@gnomon.edu.

TUITION & FEES: DEGREE
BACHELOR OF FINE ARTS IN DIGITAL PRODUCTION (BFA)
TERM UNITS TUITION* FEES TOTAL
Term 1 17 $9,860.00 $250.00 $10,110.00

Term 2 17 $9,860.00 $250.00 $10,110.00
Term 3 14 $8,120.00 $250.00 $8,370.00
Term 4 18 $10,440.00 $250.00 $10,690.00
Term 5 15 $8,700.00 $250.00 $8,950.00
Term 6 15 $8,700.00 $250.00 $8,950.00
Term 7 15 $8,700.00 $250.00 $8,950.00
Term 8 15 $8,700.00 $250.00 $8,950.00
Term 9 15 $8,700.00 $250.00 $8,950.00
Term 10 15 $8,700.00 $250.00 $8,950.00
Term 11 12 $6,960.00 $250.00 $7,210.00
Term 12 12 $6,960.00 $250.00 $7,210.00
TOTAL: 180 $104,400.00 $3,000.00 $107,400.00
Average Cost per Term $8,700.00

Cost per Unit $580.00
Confirmation of Acceptance Fee** $125.00

Student Fee $250.00 per term
STRF Fee**,*** -
International Processing Fee** $150.00
(International Students Only)
Total Program Tuition and Fees $107,525.00

(Domestic Students)
(International Students)
*Tuition/Fee Increases: Gnomon reserves the right to increase tuition/fees once each
calendar year. Tuition/Fee increases will not exceed 5% per calendar year.
**Please note these one-time fees are non-refundable.
***Effective January 1, 2015, the Student Tuition Recovery Fund (STRF) assessment
rate will be zero ($0) per $1,000.00. Therefore, Gnomon will not collect STRF
Artwork by Mido Lai assessments from students until otherwise noted.

TUITION & FEES: CERTIFICATE
Term 1 18 $11,256.00 $250.00 $11,506.00

Term 2 18 $11,256.00 $250.00 $11,506.00
Term 3 18 $11,256.00 $250.00 $11,506.00
Term 4 18 $11,256.00 $250.00 $11,506.00
Term 5 18 $11,256.00 $250.00 $11,506.00
Term 6 18 $11,256.00 $250.00 $11,506.00
Term 7 19.5 $11,256.00 $250.00 $11,506.00
Term 8 19.5 $11,256.00 $250.00 $11,506.00
TOTAL: 147 $90,048.00 $2,000.00 $92,048.00
Average Cost per Term $11,256.00 (flat rate)

STRF Fee**,*** -

(Domestic Students)
Artwork by Caroline Ng assessments from students until otherwise noted.

TUITION & FEES: CERTIFICATE
ENTERTAINMENT DESIGN AND DIGITAL PRODUCTION
(EDDP)
Term 1 18 $4,923.00 $250.00 $5,173.00

Term 2 18 $4,923.00 $250.00 $5,173.00
Term 3 18 $4,923.00 $250.00 $5,173.00
Term 4 18 $4,923.00 $250.00 $5,173.00
Term 5 18 $11,256.00 $250.00 $11,506.00
Term 6 18 $11,256.00 $250.00 $11,506.00
Term 7 18 $11,256.00 $250.00 $11,506.00
Term 8 18 $11,256.00 $250.00 $11,506.00
Term 9 18 $11,256.00 $250.00 $11,506.00
Term 10 18 $11,256.00 $250.00 $11,506.00
Term 11 19.5 $11,256.00 $250.00 $11,506.00
Term 12 19.5 $11,256.00 $250.00 $11,506.00
TOTAL: 219 $109,740.00 $3,000.00 $112,740.00


STRF Fee**,*** -

(Domestic Students)
Artwork by David Olson assessments from students until otherwise noted.

TUITION & FEES: AVOCATIONAL
Term 1 12 $2,500.00 $25.00 $2,525.00

Term 2 12 $2,500.00 $25.00 $2,525.00
Term 3 12 $2,500.00 $25.00 $2,525.00
Term 4 12 $2,500.00 $25.00 $2,525.00
TOTAL: 48 $10,000.00 $100.00 $10,100.00
Enrollment Fee** $25.00
Artwork by Sameth Sim

INDIVIDUAL COURSES
On Campus Courses* $699.00 – $2,133.00

Traditional Courses* $699.00 - $1,257.00
Digital Courses* $1,677.00 - $2,133.00

Payment Plan Fee $75.00
Late Fee $45.00
Returned Check Fee $25.00
View the Courses section for specific course tuition.
*Tuition/Fee Increases: Gnomon reserves the right to increase tuition/fees once

each calendar year. Tuition/Fee increases will not exceed 5% per calendar year.
Artwork by Fabio Marzo

DISTANCE EDUCATION
Distance Education $933.00 – $1,323.00

Courses*

Payment Plan Fee $75.00
Late Fee $45.00
Returned Check Fee $25.00
View the Online Courses section for specific course tuition.
*Tuition/Fee Increases: Gnomon reserves the right to increase tuition/fees once

each calendar year. Tuition/Fee increases will not exceed 5% per calendar year.
Artwork by Akin Adekile

Artwork by Apple Qingyang Zhang
SCHOLARSHIPS & FINANCIAL AID

SCHOLARSHIPS
MERIT-BASED SCHOLARSHIPS
Gnomon offers institutional, merit-based scholarships in the form of tuition discounts to those who
qualify. Merit-based scholarships are awarded to incoming program applicants based on the strength of
their application, portfolio, and admissions interview.
To be eligible for consideration, candidates must:

- Be an applicant to a Gnomon full-time program
- Have completed all application requirements prior to the corresponding application deadline
- Have no previous record of enrollment in a Gnomon full-time program
Scholarships are nontransferable and have no redeemable cash value. Award amounts will vary. A
change of program or start date deferral could result in the cancellation of a scholarship award. For
more information, please contact admissions@gnomon.edu.
NEED-BASED SCHOLARSHIPS
Gnomon offers need-based scholarships quarterly in the form of tuition discounts to current students in
need of financial assistance.
To apply, students must:

- Complete a FAFSA (or a FAFSA On The Web worksheet for International student applicants)
for the current award year
- Write an essay of 250 words on a given topic
For more information, please contact finaid@gnomon.edu.

Artwork by Leticia Kao
FINANCIAL AID
Gnomon participates in California State grants (Cal Grants A, B and C) and Title IV Federal financial aid
programs (Pell and FSEOG Grants, Direct Loans, Work-Study). For qualifying individuals, State and
Federal financial aid may apply towards the Digital Production for Entertainment (DP) and Entertainment
Design & Digital Production (EDDP) certificate programs, and the Bachelor of Fine Arts (BFA) in Digital
Production degree program.
Federal and State financial aid can only be applied to certificate and degree programs, and is not
available to students enrolled in Foundation in Art & Design, Distance Education or Individual Courses.
Private credit-based education loans may be available for Foundation in Art & Design and Individual
Course options. Private credit-based education loans are not available to Distance Education enrollees.
Please contact the Financial Aid Office at finaid@gnomon.edu or 323.466.6663 for more information.
Students interested in financial aid should start by completing the Free Application for Federal Student
Aid (FAFSA). The FAFSA is the gateway to all Federal aid sources and covers July 1st of one (1) year
through June 30th of the next. This is called the “award year.” The FAFSA must be completed each year
in order for a student to continue to be considered. The FAFSA can be filed electronically at
fafsa.ed.gov. Entering Gnomon’s school code (040764) will give the school access to an applicant’s
FAFSA results. An FSA ID username and password are required and this will act as the student’s
electronic signature. Students will also be able to use this on all of the Federal Student Aid sites.
Within roughly 72 hours of submitting a FAFSA, Gnomon will receive a Student Aid Report (SAR). The
SAR is a summary of information entered on the FAFSA and serves both for proofing the submitted
information and as the student’s official receipt of FAFSA submission. If errors are noted on the SAR,
they can be corrected online at fafsa.ed.gov. Once the SAR is correct, contact the Financial Aid Office at
finaid@gnomon.edu or by calling (323) 466 - 6663 for information on how to proceed.
Students who obtain loans to pay for educational programs must agree to repay the full amount of the
loan plus interest.

FINANCIAL AID PROGRAMS
A brief description of each type of aid offered is as follows.
Federal Pell Grant

Federal Pell grants are based on financial need, cost of attendance, and student enrollment status. The
maximum Federal Pell Grant award for the 2018- 2019 Award Year is $6,095.00, the maximum Pell
eligible EFC is $5,486.00 with a minimum award for a full-time student of $652.00; for the 2019-20
Award Year, the maximum Federal Pell Grant award is $6,195.00, the maximum Pell eligible EFC is
$5,576 with a minimum award for a full-time student of $657. The grant amounts are determined by the
Financial Aid Office based on the results of the student’s FAFSA. The FAFSA must be received before or
during enrollment. FAFSAs received after withdrawal or completion of a program cannot be considered.
Federal Supplemental Educational Opportunity Grant (FSEOG)

FSEOG is another form of grant that is available to Pell grant recipients. Unlike the Pell grant, FSEOG is
not an entitlement grant. Funds are allocated to Gnomon each year and are awarded until all funds are
depleted.
Federal Direct Loans

Federal Direct Loans are for eligible students and parents to help pay for the cost of a student’s
education after high school. The U.S. Department of Education is the lender and a loan servicer will be
assigned to provide services to students on behalf of the U.S. Department of Education.
Direct Subsidized Loans

Students who demonstrate financial need, are not in default on a previous student loan, and are enrolled
at least half-time (a minimum of six [6] credit hours) are eligible for a Direct Subsidized loan. The
government pays the interest while the student is in school, during the six (6) month post-enrollment
grace period, or in an applicable loan deferment status. The interest rate for Direct Subsidized loans first
disbursed between 07/1/2019 - 06/30/2020 is fixed at 4.53%.

Artwork by Aashka Shah
Direct Unsubsidized Loans

Direct Unsubsidized loans are not need-based and the student is responsible for paying the interest that
accrues while the student is in school, during the six (6) month post-enrollment grace period, or in an
applicable loan deferment status. The interest rate for new Direct Unsubsidized loans first disbursed
between 07/1/2019 - 06/30/2020 is fixed at 4.53%.
Direct PLUS (Parent Loans for Undergraduate Students) Loans

Parents can borrow on behalf of their dependent undergraduate students under this program. Because
Direct PLUS loans are credit-based, they are not awarded or packaged automatically by the Financial Aid
Office, but may be included on estimated Mastersheets for review. The amount is determined by the
Financial Aid Office each year, and it equals the student’s cost of attendance (tuition, fees and estimated
living expenses) minus any financial aid the student receives.
Between 07/1/2019 - 06/30/2020, the interest rate is fixed at 7.08%. Interest is charged from the date
of the first disbursement until the loan is paid in full. Parents may defer repayment on a Direct PLUS loan
until six (6) months after the student ceases to be enrolled at least half-time (a minimum of six [6] credit
hours). Parents can also decide to pay accruing interest monthly or quarterly, or allow interest to be
capitalized. For parents considering a Direct PLUS loan, please contact the Financial Aid Office for
information on the two (2) part application process.
State Financial Aid Programs

State financial aid in the form of Cal Grants are offered for all certificate and degree programs. To apply,
students must complete a FAFSA and submit a GPA Verification Form by the March 2nd deadline each
year. A student’s eligibility for one of the three types of Cal Grants will be determined by the California
Student Aid Commission. Students who already have a Bachelor’s degree will not be eligible for a Cal
Grant.

Artwork by Stefan Kang & Chun Yih
Cal Grant A
Cal Grant A will help pay for tuition and fees. A GPA requirement of 3.0 is required if using high school
transcripts; a 2.4 GPA is required if using a college GPA.
Cal Grant B
Cal Grant B will provide only an ‘annual Access Award’ for the student’s first year (which can be used to
pay living expenses, books, supplies and transportation, as well as tuition and fees). After the first year,
tuition and fee assistance will be included. The GPA requirement is at least a 2.0.
Cal Grant C
Specifically for certificate students, Cal Grant C will provide a books & supplies stipend (which can be
used to pay living expenses, books, supplies and transportation, as well as tuition and fees) as well as
reduced tuition and fee assistance for up to two years. There is no GPA requirement.
More information on the Cal Grant can be found here: http://www.csac.ca.gov/cal-grant-faq-0
NOTICE REGARDING PRIVATE EDUCATION LOANS
If you still need money after reaching the borrowing limits for Federal loans, you may consider private
education loans as an alternative. Gnomon offers private education loans through Sallie Mae, but these
must be coordinated with the Financial Aid Office. Prior to submitting a loan application, students must
speak with the Admissions and Financial Aid offices to determine eligibility. Typically, students must be
US Citizens or Permanent Residents, and must have good credit. A co-signer may be required.
Private education loans carry higher interest rates and fees than federal loans and may have less
attractive repayment terms. The information in your credit report will be used to determine your eligibility
and will have an impact on the interest rate you qualify for. If you would like to apply for a private loan,
please contact the Financial Aid Office via email at finaid@gnomon.edu or by calling 323.466.6663. It is
also recommended that students review the information on this site beforehand:
studentaid.ed.gov/sa/types/loans/federal-vs-private.

Artwork by Michael Cacciamani
NOTICE TO STUDENTS REGARDING THE STUDENT TUITION RECOVERY FUND (STRF))*

§76215 & §76020
The State of California created the Student Tuition Recovery Fund (STRF) to relieve or mitigate
economic losses suffered by students in educational programs who are California residents, or are
enrolled in a residency program attending certain schools regulated by the Bureau for Private
Postsecondary Education (BPPE).
You may be eligible for STRF if you are a California resident or are enrolled in a residency program,
prepaid tuition, paid the STRF assessment, or suffered an economic loss as a result of any of the
following:
- The school closed before the course of instruction was completed;
- The school’s failure to pay refunds or charges on behalf of a student to a third party for license
fees;
- or any other purpose, or to provide equipment or materials for which a charge was collected
within 180 days before the closure of the school.
- The school’s failure to pay or reimburse loan proceeds under a federally guaranteed student
loan program as required by law or to pay or reimburse proceeds received by the school prior to
closure in excess of tuition and other costs;
- There was a material failure to comply with the Act or this Division within 30 days before the
school closed or, if the material failure began earlier than 30 days prior to closure, the period
determined by the Bureau; and
- An inability after diligent efforts to prosecute, prove, and collect on a judgment against the
institution for a violation of the Act.
No claim can be paid to any student without a Social Security number or a taxpayer identification
number.
You are not eligible for protection from the STRF if either of the following applies:
- You are not a California resident, or are not enrolled in a residency program, or
- Your total charges are paid by a third party, such as an employer, government program or other
payer, and you have no separate agreement to repay the third party.1
1 Effective January 1, 2015, the Student Tuition Recovery Fund (STRF) assessment will be zero ($0.00) per $1,000.00.
Therefore, Gnomon will not collect STRF assessments from students until otherwise notified.

GNOMON TITLE IV CODE OF CONDUCT
As required by the Higher Education Opportunity Act (HEOA) of 2008 (amending the Higher Education
Act of 1965, Pub. L. # 110-315), Gnomon has established the following Code of Conduct. Gnomon and
its employees certify the following:
1) We will not enter into any revenue-sharing arrangements with any lender, which is defined
as any arrangement between a college and a lender that results in the lender paying a fee
or other benefits, including a share of its profits, to the college, or its officers, employees
or agents, as a result of the college recommending the lender to its students or families of
those students.
2) Financial Aid Office employees (or employees who otherwise have responsibilities with
respect to education loans or financial aid) will not accept gifts from any lender, guaranty
agency or loan servicer. A gift is defined as any gratuity, favor, discount, entertainment,
hospitality, loan, or other item having monetary value of a significant amount. This
prohibition is not limited just to those servicers of Title IV loans but includes lenders of
private educational loans as well. The HEOA provides for some exceptions related to
specific types of activities or literature, including:
a. Brochures or training material related to default aversion or financial literacy
b. Food, training or informational materials included as part of training as long as
that training contributes to the professional development of those individuals attending
the training
c. Favorable terms and benefits to the student employed by the institution as long as
those same terms are provided to all students at the institution
d. Entrance and exit counseling as long as the college’s staff are in control and they do
not promote the services of a specific lender
e. Philanthropic contributions from a lender, guarantee agency or loan servicer unrelated
to education loans
f. State education, grants, scholarships or financial aid funds administered by or on
behalf of the State
3) Financial Aid Office employees (or employees who otherwise have responsibilities with
respect to education loans) will not accept any fee, payment or financial benefit as
compensation for any type of consulting arrangement or contract to provide services to or
on behalf of a lender relating to education loans.
4) The college’s officers, employees and/or agents will not steer any borrowers, including
first-time borrowers, to particular lenders nor assign any borrower a lender through award
packaging or other methods. The college will not refuse to certify, or delay certification
based on the borrower’s selection of a particular lender or guaranty agency.

GNOMON TITLE IV CODE OF CONDUCT
5) The college’s officers, employees and/or agents will not request or accept any offer
of funds for a private loan, including funds for an opportunity pool loan, to students in
exchange for providing concessions or promises to the lender for a specified number of
loans made, insured or guaranteed, a specified loan volume, or a preferred lender
arrangement.
6) The college’s officers, employees and/or agents will not request or accept any assistance
with call center staffing or financial aid office staffing. The HEOA does not prohibit
schools from requesting or accepting assistance from a lender related to:
a. Professional development training for financial aid administrators
b. Providing educational counseling materials, financial literacy materials, or debt
management materials to borrowers, provided that such materials disclose to
borrowers the identification of any lender that assisted in preparing or providing such
materials
c. Staffing services on a short-term, nonrecurring basis to assist the school with financial
aid-related functions during emergencies, including State-declared or federally
declared natural disasters, and other localized disasters and emergencies identified by
the Secretary
7) No officer or employee of the college, or any employee or agent who otherwise has
responsibilities with respect to educational loans, and who serves on an advisory board,
commission, or group established by a lender, guarantor, or group of lenders or guarantors
will receive anything of value from the lender, guarantor or group except for
reimbursement of reasonable expenses incurred by serving on the board, commission,
or group.

Artwork by James Ellis
REFUNDS & RETURNS FOR FINANCIAL AID STUDENTS
If a student withdraws from the institution and has attended 60% or less of the enrollment period, the
prorated charge for the amount of time attended will be calculated and subtracted from the amount paid
for the period in question. If the student did not receive any financial aid, any remaining credit balance
will be refunded to the student.
The U.S. Department of Education certifies this institution as an eligible participant in the Federal
Student Aid (FSA) programs established under the Higher Education Act of 1965 (HEA), as amended.
To calculate refunds under the Return of Title IV Funds policy, an institution must determine how much
Federal assistance a student has earned which can be applied to the institutional charges.
If a student received more FSA funds than he or she earned under the Federal Return of Title IV Funds
policy, the institution, and in some cases the student, is required to return the unearned funds to the
appropriate Federal programs. The student must pay any unpaid balance to the institution that remains
after the Return of Title IV Funds policy has been applied to the state/institutional policy.
Any monies due an applicant or student will be refunded within 45 days of the date of cancellation,
withdrawal, or termination. A withdrawal may be effectuated by the student’s written notice or by the
student’s conduct, including, but not necessarily limited to, a student’s lack of attendance.
If the amount of refund exceeds the unpaid balance of the loan, the remainder of the monies will be
applied to any student financial aid programs from which the student received funding. Any remaining
balance of funds will then be returned to the student.
If a student does not return following an approved leave of absence on the date indicated on the written
request, refunds will be made within 45 days from the date the student was scheduled to have returned.
For purposes of determining a refund, the last date of attendance is used when a student fails to return
from an approved leave of absence.

RETURNING FUNDS TO THE FEDERAL PROGRAMS
If it is determined that a Federal refund is due, the statute and regulations clearly define the order in
which remaining Federal student aid program funds are to be returned. Based on the student’s financial
aid award(s) (and his/her parent(s) in the case of PLUS Loans), the return of Federal funds will be
returned to the appropriate program in the following order:
1. Federal Direct Unsubsidized Loans
2. Federal Direct Subsidized Loans
3. Federal Direct PLUS Loans
4. Federal Pell Grants
5. Federal Supplemental Education Opportunity Grant (SEOG)
6. Other federal, state, private and/or institutional sources of aid
7. The student
RETURN OF TITLE IV FUNDS REFUND POLICY
All institutions participating in the FSA programs are required to use a statutory schedule to determine
the amount of FSA funds a student had earned when he or she ceases to attend, which is based on the
period of time the student was in attendance.
If a recipient of the FSA Program withdraws from the institution during a payment period or a period of
enrollment in which the student began attendance, the institution must calculate the amount of FSA
program assistance the student did not earn, and those funds must be returned. Up through the 60%
point in each payment period or period of enrollment (typically the last day of week six), a schedule is
used to determine how much FSA program funds the student has earned at the time of withdrawal. After
the 60% point in the payment period or period of enrollment, a student is considered as having earned
100% of the FSA funds and no refunds will be calculated.

The percentage of the payment period or period of enrollment completed is determined by the total
number of calendar days in the payment period or period of enrollment for which the assistance is
awarded, divided into the number of calendar days completed in that period as of the last date of
attendance.
Scheduled breaks of at least five (5) consecutive days are excluded from the total number of calendar
days in a payment period or period of enrollment (denominator) and the number of calendar days
completed in that period (numerator). Days in which a student was on an approved leave of absence are
also excluded in the calendar days for the payment period or period of enrollment.
Questions regarding refunds and/or returns may be directed to the Financial Aid Office via email at
finaid@gnomon.edu.
VETERAN’S EDUCATIONAL BENEFITS

Gnomon is approved by the Veteran’s Administration (VA) to provide educational benefits (Chapter 33,
Yellow Ribbon, Vocational Rehabilitation, etc.), and is classified by the VA as an “Institute of Higher
Learning” or IHL institution. There are several different types of educational benefits for veterans
depending on the type, length, and date of service performed.
Veterans interested in applying their educational benefits to their enrollment at Gnomon should call the
following number: (888) GI – BILL-1 or go to benefits.va.gov/gibill for more information. The Certificate
of Eligibility will indicate how much of a student’s benefits are eligible to be applied.
Once a student has determined how their benefits may be applied at Gnomon, the student may contact
the Financial Aid Office at finaid@gnomon.edu or by calling 323.466.6663.
A student should submit their Certificate of Eligibility when inquiring about financial assistance.
For Post 9/11 GI Bill® (Ch 33) students and VA Vocational Rehabilitation and Employment (Ch 31)
students, our tuition policy complies with 38 USC 3679(e) which means Post 9/11 and Vocational
Rehabilitation and Employment students will not be charged or otherwise penalized due to a delay in
VA tuition and fee payments. For eligibility consideration, a Post 9/11 GI Bill student must submit a
VA Certificate of Eligibility (COE) and a Vocational Rehabilitation Student must provide a VAF 28-1905
form. All persons seeking enrollment must meet the general admissions policies. Those seeking to use
VA Education Benefits must submit all prior transcripts for a transfer evaluation and submit one of the
following a 22-1990, 22-1995, 22-5490, or a 22-5495 to the VA.
GI Bill® is a registered trademark of the U.S. Department of Veterans Affairs (VA). More information
about education benefits offered by VA is available at the official U.S. government website at
www.benefits.va.gov/gibill

Artwork by Yanni Roussos
GRADES & GRADING

APPLICATION OF GRADES & CREDITS
Gnomon uses a system of letter grades and grade point equivalents for evaluating coursework. Grades
are configured on a 4.3 scale. The grade definitions chart on the following page illustrates the impact of
each grade on a student’s academic progress and what marks are used in calculating the cumulative
GPA.
GRADING
Grading is based on aesthetic, conceptual, and technical merit, as well as a demonstrable willingness to
learn. Students may be evaluated from the following grading standards:
- Final or midterm projects or exams
- Execution and presentation of projects
- Weekly assignments
- Course participation and professionalism
- Overall improvement
It is the instructor’s prerogative to evaluate student work and assign grades in accordance with his/her
academic and professional judgement.

GRADE DEFINITIONS
Grade Percentage Value GPA Narrative
A-level performance equates to excellence in thinking and

A+ 4.3
performance within the domain of a subject and course, successful
A 90 - 100% A 4.0
and timely delivery of at least 90% or more of assignments and
A- 3.7
superior knowledge acquired through critical thinking and practice.
B-level performance equates to sound thinking and performance

B+ 3.3
within the domain of a subject and course, successful and timely
B 80-89% B 3.0
delivery of 80% or more of assignments and sound knowledge
B- 2.7
acquired through critical thinking and practice.
C-level performance equates to adequate thinking and performance

C+ 2.3
delivery of 70% or more of assignments and adequate knowledge
C 70-79% C 2.0
C- 1.7
Students must maintain a 2.0 or above in order to maintain good
academic standing.
D-level performance equates to poor thinking and performance

D+ 1.3
D 60-69% D 1.0
delivery of 60% or more of assignments and subpar knowledge
D- 0.7
The student is not developing critical thinking skills and

59% understanding within the domain of a subject and course and/or the
F F 0.0
& below student failed to deliver 59% or less of assignments. The student is
not achieving competence in his or her academic work.
Incomplete. Incompletes are only granted by the instructor and for

exceptional circumstances. “I” is temporary and must be rectified
I Neutral I 0.0 no later than two weeks after the end of the term. If not submitted
by the deadline, the Incomplete grade will be replaced with a grade
of an “F.”
Withdrew. Withdrew from a course during Week 2 - Week 6. ‘W’

W Neutral W 0.0 grades have no impact on term or cumulative grading calculations,
and do not count toward a student’s full-time status.

INCOMPLETE GRADE MARK

A grade of ‘I’ stands for incomplete and is only granted in exceptional circumstances. An exceptional
circumstance would be considered a situation or event which could not be foreseen, is beyond the
student’s control, and which prevents the student from completing necessary course work. Incomplete
grade marks are contingent upon instructor approval and instructors are under no obligation to grant
them.
Incomplete grades are temporary and must be rectified during the instructor approved timeframe, but
under no circumstances later than two weeks after the end of the term.
Students on SAP Academic Warning or SAP Academic Probation may not receive an “Incomplete” grade
mark and no additional time may be granted to submit coursework. All grades must be submitted on
time.
PROCESS FOR REQUESTING AN INCOMPLETE
A Request for a Grade of Incomplete form must be initiated by the student and if approved by the
instructor, must be submitted to the Education Office no later than (1) one week after the term end
(Week 10).
If approved, the student is expected to complete all course work within a specific time frame given by
the instructor, but no later than (2) two weeks after the term end (Week 10). Failure to submit work or
rectify the incomplete mark within the stated time-frame will result in the incomplete “I” mark converting
to an “F.”
In order to be considered for an Incomplete, the student must:

- Initiate the request for an Incomplete by filling out the Request for a Grade of Incomplete form
and submitting it to the instructor of the class for which the Incomplete is being requested. The
instructor cannot initiate the Incomplete request
- Ensure that any remaining work is completed and submitted prior to Sunday of Week 12
- Submit the Request for a Grade of Incomplete form to the Education Office before Sunday of
Week 11 of the term
Questions regarding Incomplete Grade Marks or how to request an Incomplete may be directed to
Education Office via email: education.admin@gnomon.edu.

Artwork by Gizem Ersavas
GRADE CHANGES
At the completion of every term, grades are made available to students via the Gnomon Student Web
Portal. Final grades submitted by instructors are considered permanent. A grade change can be initiated
only at the request of an instructor.
Students concerned about a grade must discuss it with the appropriate instructor first. If it becomes
apparent that an error has been made, the instructor must contact the Education Office. If submitted
grades need to be changed or an approved Incomplete needs to be updated, the instructor must
complete and submit the Request of Grade Change or Removal of Incomplete form to the
Education Office.
The Request of Grade Change or Removal of Incomplete form must be submitted prior to the conclusion
of Week 1 of the next term.
PETITION FOR GRADE CHANGE

At the completion of every term, grades are made available to students via the Gnomon Student Web
Portal. Final grades submitted by instructors are considered permanent. Students may appeal to their
instructors, in writing, if the student believes a grade is in error, and must present a case to justify a
grade change.
Should an instructor grant the appeal, the instructor must complete the Request of Grade Change or
Removal of Incomplete Form and submit it to the Education Office via email. Upon receipt of the
instructor’s approved grade change, the revised grade will be become part of the student’s
permanent record.
If attempts to resolve the issue with the instructor are unsuccessful, the student may request an appeal
via Petition for Grade Change form to the Education Office. The deadline to submit the completed form
is Sunday of Week 13 of the term the course was taken. Forms are available in the Education Office or
may be requested via email at education.admin@gnomon.edu. The Education Office will consider the
evidence and make a final decision. Grade change petitions submitted after the
(2) two-week deadline are handled at the Education Office’s discretion.
Students on SAP Academic Warning must submit any grade appeals within five (5) business days of
receiving a grade.

Artwork by Francesco Corvino
SATISFACTORY ACADEMIC PROGRESS (SAP) POLICY

Gnomon is committed to supporting students in their educational pursuits. To that end, the School
requires that students maintain timely academic progress towards completion of their academic
program.
Gnomon maintains a definition of Satisfactory Academic Progress (SAP) that reflects the School’s
mission and is consistent with accepted practices in higher education. The academic progress of
every student is carefully monitored to support student success. Any student not meeting the SAP
requirements are informed and advised accordingly. This policy applies to all students who are enrolled
in a certificate or degree program at Gnomon.
Gnomon requires students in the Digital Production for Entertainment (DP) and Entertainment Design
& Digital Production (EDDP) certificate programs, and the Bachelor of Fine Arts in Digital Production
(BFA) degree program to make timely academic progress each quarter towards completion. Reasonable
progress is measured by the following two (2) qualitative and quantitative standards:
Standard 1: Qualitative Standard

Students must meet the minimum requirement of a 2.00 cumulative and quarterly grade point average
(GPA). Please note that while Gnomon’s passing grade point average for any single course is a 0.7 (D-),
or above, the SAP requirements as described remain intact.
GPA’s are a qualitative measure of a student’s academic progress. Cumulative GPA’s include all Gnomon
courses that have been graded and are determined to meet the program requirements. However,
Withdraw (W) grades have no impact on quarter or cumulative grading calculations. Repeated courses
are calculated with the best grade received. Incomplete (I) grades have no impact on the quarter or
cumulative GPA grading calculations but SAP must be reviewed again once the Incomplete has been
replaced with the new grade. Grades from courses transferred from other institutions are not included.
Students can review their current cumulative and quarterly GPA using the Student Web Portal.

Artwork by Nikki Mull
Gnomon reviews GPA’s on a quarterly basis. To meet Standard 1: Qualitative Standard, students must
achieve a minimum 2.00 cumulative GPA as well as a 2.00 quarterly GPA at the conclusion of each
quarter.
Standard 2: Quantitative Standard

Students must satisfactorily complete at least 67% of cumulative credit hours attempted, and complete
the program within 150% of the maximum time frame offered for the program (PACE).
A quantitative measure of progress towards program completion is determined by the percentage

of credit hours successfully completed divided by the credit hours attempted. Credit hours from
courses taken at Gnomon and/or transferred from other institutions are treated as both attempted and
completed. To determine PACE for Gnomons’ programs, follow the steps below.
Step 1 — Determine which courses should be included in the calculation

• Credit hours from Gnomon courses taken prior to program enrollment that have been accepted
for credit towards the program.
• Credit hours from courses transferred from other institutions;
• Credit hours from courses repeated while at Gnomon where the initial grade was
unsatisfactory; and
• Credit hours from courses with an Incomplete (I) or Withdraw (W) status
Step 2 — Complete the calculation

Take the total number of course credit hours completed and divide by the total number of
course credit hours attempted. Students must satisfactorily complete at least 67%. For example:
An academic year consists of three quarters with 21 credit hours taken per quarter for a total of

Artwork by Dallas Palmer
63. A student must complete at least 42 of the 63 units to meet Standard 2: Quantitative Standard
(42 credit hours completed divided by 63 credit hours attempted = 67%).
A student must complete an academic program within 150% of the published program length. Below are
the thresholds for each certificate program:
• Digital Production – the program length is 8 quarters, or 2 calendar years. Therefore, 150%
maximum time to completion can be no more than 12 quarters, or 3 calendar years. This
program requires 147 course credit hours for completion. The maximum number of course
credit hours a student can attempt in this program is 220 (147 x 1.5 = 220).
• Entertainment Design and Digital Production – the program length is 12 quarters, or 3 calendar
years. Therefore, 150% maximum time to completion can be no more than 18 quarters, or 4 ½
calendar years. This program requires 219 course credit hours for completion. The maximum
course credit hours a student can attempt in this program is 328 (219 x 1.5 = 328).
• Bachelor of Fine Arts in Digital Production – the length is 12 quarters over 4 calendar years with
3 Summer quarters off (optional). This program requires 180 course credit hours for completion.
The program must be completed within 6 calendars years, or at least 2 quarters completed each
calendar year (with optional Summer quarters included).
If at some point it is determined impossible for a student to complete the program within the 150%-time
frame, the student will be withdrawn at the time of determination prior to exceeding the limit, with no
right to appeal.

Artwork by Justin Fields
MONITORING SATISFACTORY ACADEMIC PROGRESS (SAP)

Satisfactory Academic Progress (SAP) is reviewed at the end of each quarter. Students who fully meet
all the standards above are considered to be in good standing for SAP. Students who fail to meet the
standards will be notified via Gnomon email and regular mail of the results and the impact on their
program and financial aid eligibility.
If the parameters of either standard are deficient at SAP review, the student will be placed on Academic
Warning for one (1) subsequent quarter and will still be eligible for financial aid. Once SAP has been
reviewed after completion of the subsequent quarter and the SAP requirements have been met, the
Academic Warning status will be released, and the student will be notified via Gnomon email and regular
mail. Students who fail to meet the SAP standards after the subsequent quarter will be Academically
Withdrawn from the program, with no immediate right to appeal.
If adjustments such as the ones below are made to a student’s academic record after their SAP status
has been initially reviewed, a subsequent review will be performed:
• A grade has been changed due to resolution of an Incomplete, correction of an error or Petition
of Grade Change approval
• The student changed programs and SAP standards are met for that program
Students are allowed up to two (2) occurrences of being placed on Academic Warning during their
program. Students who fail to meet SAP standards for the third (3rd) time will be Academically
Withdrawn from the School, with no right to appeal. If a student transfers to a new program, they will be
allowed up to two (2) occurrences of being placed on Academic Warning during their new program. The
same policy applies in the new program.
If a student is on Reinstatement Probation, they must meet all SAP standards and may not be placed on
Academic Warning. Students who were not able to meet SAP standards at the end of the Reinstatement
Probation term will be Academically Withdrawn from the program, with no right to appeal the
suspension of academic and financial aid eligibility. The student may re-apply as a new student through
the Admissions Department one (1) year after the withdrawal date. Gnomon’s Admissions requirements
and Transfer Credit Policy for new students will apply.

REINSTATEMENT AFTER DISMISSAL & APPEAL PROCESS
Any student who has been Academically Withdrawn and whose record reflects fewer than three (3)
occurrences of being placed on Academic Warning, may be re-instated after six (6) months and up to
one (1) year through the SAP Reinstatement Appeal process. Students who have been withdrawn for
other reasons (e.g. plagiarism, forgery, theft, harassment, misconduct) may not have this option (please
see Gnomon Student Conduct and Disciplinary Actions policy). Students that have been Academically
Withdrawn may take individual courses to improve their GPA but may not receive financial aid.
If a student who has not successfully met SAP requirements and has been Academically Withdrawn
from Gnomon wishes to return, they will be advised to do the following:
1. Sign up for Individual Courses to improve their GPA and academic standing. Students may
discuss possible courses with the Education Department after dismissal. These courses
can be taken at any school but we highly encourage students to take the courses at Gnomon
due to transferring policies that may restrict a student from transferring in other courses taken
elsewhere. If a student does not speak to the Education Department, they can still sign up for
individual courses during their dismissal. There is no guarantee that the courses taken during
dismissal will automatically transfer if it does not align with Gnomon’s curriculum and the
students’ success.
2. Receive a “C” grade or better in courses taken during the dismissal period.
3. After six (6) months, but no later than one (1) year, a student may submit a SAP Reinstatement
Appeal. (Please see below for SAP Reinstatement Appeal Guidelines)
If the SAP Reinstatement Appeal is successful, the student will be re-enrolled in the program with a
status of Reinstatement Probation.
If the SAP Reinstatement Appeal is unsuccessful, the student will be advised to re-apply after one (1)
year from the original dismissal date through the Admissions Department as a new student. Gnomon’s
Admissions requirements and Transfer Credit Policy for new students will apply.
If the student’s SAP Reinstatement Appeal is successful, the student will meet with the Education
Department to determine a new academic schedule. The student will also be placed on Reinstatement
Probation for the rest of the program length until completion.
While on Reinstatement Probation, a student must meet all SAP standards and may not be placed on
Academic Warning. Students who were not able to meet SAP standards at the end of the Reinstatement
Probation term will be Academically Withdrawn from the program, with no right to appeal the
suspension of academic and financial aid eligibility.
If the student’s SAP Reinstatement appeal is unsuccessful, the student may re-apply as a new student
through the Admissions Department one (1) year after the withdrawal date. Gnomon’s Admissions
requirements and Transfer Credit Policy for new students will apply.

Artwork by Jia Le Zhang
SAP REINSTATEMENT APPEAL GUIDELINES

A student wishing to return to Gnomon after being academically withdrawn for not meeting SAP
requirements may submit a SAP Reinstatement Appeal. The Appeal may be submitted after six (6)
months of being withdrawn, but no later than one (1) year after the withdrawal date. Any student who
has been Academically Withdrawn after three (3) occurrences of being placed on Academic Warning is
not eligible for SAP Reinstatement Appeal.
The SAP Reinstatement Appeal must include:

1. SAP Reinstatement Appeal Form*
This form must be typed, completed and signed.
2. Typed Personal Statement*
A typed personal statement should include the following:
1. Description of the extenuating circumstances that prevented you from meeting the
satisfactory academic progress standards.
2. How have your circumstances changed so your failure of the situation will not reoccur?
3. What steps have you taken to ensure you will meet the satisfactory academic progress
standards and be successful in your academics?
If any documentation to support extenuating circumstance(s) exists, please include it with
your personal statement. Examples of extenuating circumstances include, but are not limited
to: a period of illness or injury for the student, a period of illness or injury for an immediate
family member requiring the student’s assistance, death of a family member, family difficulties
(financial, divorce), etc.
3. Courses taken during dismissal period (if applicable)
Official transcripts must be submitted with the appeal, if courses were taken elsewhere.
If courses were taken at Gnomon, unofficial transcripts must be submitted with the appeal. A
copy of the student’s unofficial transcripts is obtainable from the Registrar (email registrar@
gnomon.edu) or through the Gnomon Student Web Portal.
* Required

Following submission, the student will be
notified of the SAP Committee’s decision within
five (5) days via Gnomon email and regular mail.
The Committee’s decision is final.
For more information regarding SAP, SAP

Appeals, or SAP Reinstatement, please contact
SAP@gnomon.edu.

Artwork by Jorik Dozy
CANCELLATIONS, WITHDRAWALS &

LEAVE OF ABSENCE
REQUEST TO ADD/DROP A COURSE
Add/Drop is a grace period during which full-time program students may add an additional course to a
schedule or withdraw from a specific course.
The schedule for adding/dropping a course is as follows:

- By the end of Week 1 of the term, full-time program students may add or drop through the first 7
days of every quarter. The student must retake the class during the subsequent term. There are
no exceptions to this policy. The Request to Add/Drop a Course form is available via the
Education Office and must be returned to the Registrar. After Week 1, students may not add any
additional courses
- From the beginning of Week 2 through the end of Week 6, students may request a ‘W’, which is a
letter grade of withdrawal from the course in question. ‘W’ grades have no impact on term or
cumulative grading calculations, and do not count toward a student’s full-time status. This will not
negatively impact the student’s GPA, but the student must retake the class during the subsequent
term. There are no exceptions to this policy. Students who are on Satisfactory Academic
Progress Warning or Probation are not eligible for a ‘W’ grade. The form must be approved by
either the Director of Education: BFA, Director of Education: Certificate (depending on which
program the student is currently enrolled), or assigned, with the ‘W’ request box checked, and
must be returned to the Registrar
- From the beginning of Week 7 through the end of the quarter, if a student drops a course, the
student will receive a grade of F. Students who fail a course may not subsequently withdraw from
the course
Students who withdraw from a specific course by the end of Week 1 will have any charges associated
with that class removed from their account. Students who withdraw from a specific course after Week 1
and by the end of Week 6 will have their tuition pro-rated.

Artwork by Anthony Ragusa
CANCELLATION ON OR BEFORE THE FIRST DAY OF CLASS

If tuition and fees are collected in advance of the start date of classes and a student does not begin
classes or withdraw on the first day of classes, Gnomon retains the non-refundable confirmation fee of
$125.00 and will process a refund for all other tuition and fees paid.
Refunds will be paid within 45 days. Refunds will be processed using the same method of payment used
for purchase.
CANCELLATION DURING THE FIRST SEVEN (7) DAYS AFTER

ENROLLMENT
Students have the right to cancel the enrollment agreement and obtain a refund of charges paid through
attendance at the first class session, or the seventh day after enrollment, whichever is later. Cancellation
shall occur when written notice of cancellation is received by the Office of Registrar. The written notice
of cancellation may be submitted electronically, by mail, or in person.
Refunds will be paid within 45 days after the student’s notice of cancellation is received. Refunds will be
processed using the same method of payment used for purchase. Students who have received federal
student financial aid funds are entitled to a refund of moneys not paid from federal student financial aid
program funds.
Beyond the first seven (7) days after enrollment, program students are subject to Gnomon’s Refund
policy.

Artwork by Joseph Machado
REFUNDS FOR COURSE/PROGRAM CANCELLATION

Students have the right to withdraw from the program of instruction at any time. If a student
withdraws from the institution and has attended 60% or less of the enrollment period, the prorated
charge for the amount of time attended will be calculated and subtracted from the amount paid. If the
student did not receive financial aid, any remaining credit balance will be refunded to the student. If
the student did receive financial aid, please see the section, Refunds & Returns for Financial Aid
Students. If the student received VA benefits, any applicable refund will be returned to the Department
of Veterans Affairs.
For the purpose of determining a refund, a student shall be deemed to have withdrawn from a program
of instruction when any of the following occurs:
A. The student submits written notice of the date of intent to withdraw to the Registrar
B. The institution terminates the student’s enrollment for failure to maintain satisfactory progress;
failure to abide by the rules and regulations of the institution; and/or failure to meet financial
obligations to the school
C. The student does not return from a leave of absence
D. The student fails to attend classes for 21 consecutive days.
For the purpose of determining the amount of the refund, the date of the student’s withdrawal shall be
deemed the last date of recorded attendance. The amount owed equals the daily charge for the program
(total institutional charge, minus non-refundable fees, divided by the number of days in the program),
multiplied by the number of days scheduled to attend, prior to withdrawal.

Artwork by Jak Pagan
CANCELLATION/WITHDRAWALS & REFUNDS FOR

PROGRAM STUDIES
Students have the right to withdraw from the program of instruction at any time. Students must
complete a Program Cancellation/Withdrawal Request which is available via the Registrar. The form
must be approved by the Director of Education or designee.
If 60% or less of the period of attendance has been completed, a refund may be due. Tuition refunds are
based on the date the written drop request is received via email (or the last date of attendance if no
notice is received). Refunds will be made within 45 days of the date of cancellation. Refunds will be
processed using the same method of payment used for purchase.
Please refer to the confirmation letter for the refund calendar. Requests will be processed during regular
business hours: Monday through Friday from 9:00 AM - 6:00 PM

Artwork by Taylor Duval
COURSE CHANGES & INFORMATION

AUDITING A COURSE
Gnomon does not permit course auditing. Only students who are properly registered for any given class,
guest lecturers, full-time staff, and full-time instructors may attend that class, space permitting.
Students are responsible for ensuring enrollment for each class in which they are participating. All other
class participants are prohibited and will be removed.
Students who are currently enrolled in a section of a given course may make up a missed session of that
course due to illness in another section, with administrative permission only. The Registrar must be
notified by the instructor of any changes prior to the student making up the missed session. Students
are not permitted to make up the same course taught by another instructor.
COURSE CANCELLATIONS & CHANGES

Due to the nature of the industry that the school serves, Gnomon reserves the right to cancel/reschedule
a course or change faculty members. In the event of a course change, students will be notified as soon
as possible via email. If the school cancels or discontinues a course or educational program, the school
will make a full 100% refund of all charges. Refunds will be paid within 45 days. Refunds will be
processed using the same method of payment used for purchase.
MAKEUP COURSES
Gnomon instructors are working professionals and may miss a course during the term. An 11th week is
built into each term. This functions as a makeup week, where if an instructor misses a class, a makeup
session of that class is held during this week at the same time and place, depending on scheduling and
lab availability. Missed classes may be made up during the term as well, at the instructor’s discretion.
Should a class be canceled during the term, Gnomon’s administration will make all possible efforts to
reschedule the class. Please keep the term schedule in mind when making plans and travel
arrangements.
MAKEUP WORK
No make-up work is permitted unless an Incomplete (I) grade has been granted.

Artwork by Vania Ariffin
LEAVE OF ABSENCE (LOA)

A Leave of Absence (LOA) is an approved interruption of a student’s program of study at Gnomon.
Program students may request a single term leave of absence from their studies in the event of
unforeseen circumstances, such as:
- Family emergencies and obligations
- Medical and health related issues
- Financial reasons
Students contemplating a Leave of Absence (LOA) are encouraged to seek consultation from the
Education Office, Registrar, and the Financial Aid Office prior to requesting a leave.
To be granted an LOA, a student must:

- Submit the LOA form no later than ten (10) business days prior to the start of the term
- Make arrangements to discuss the LOA terms with the Education Office
Students in emergency situations may be granted leeway regarding submission of the LOA form.

RETURNING FROM A
Students returning from a Leave of Absence
should contact the Education Office and
Registrar no later than four (4) weeks prior to
the start of the term in which the student is
scheduled to return to finalize a new schedule,
and the Financial Aid Office (if applicable) to
re-establish their awards. Returning students
resume studies at the same point in their
academic program prior to the LOA issuance.
In the event a student does not return from a

Leave of Absence, the student will be deemed
withdrawn from the program and subject to a
refund in accordance with the school’s
published refund policy.

FOR INTERNATIONAL
STUDENTS
International students must abide by the
regulations of their nonimmigrant status and
will only be granted a Leave of Absence if
circumstances adhere to the regulations.
Please refer to the “Title 8: Aliens and
Nationality” section of the United States Citizen
and Immigration Services website: uscis.gov.
Please be advised that LOAs for International

Students are not recommended due to United
States Citizenship and Immigration Services
(USCIS) regulations. To set up an appointment
to discuss taking an LOA as an International
student, please contact the Registrar at
registrar@gnomon.edu.
Artwork by Ruslan Saitov

Artwork by Nikki Mull
STUDENT SERVICES
ACADEMIC MENTORING CENTER (AMC)
Upon acceptance into a full-time program at Gnomon, students have access to academic mentoring
advisors. Academic advising provides support and motivation to address student needs and enhance
overall student satisfaction. As advocates for students, academic mentoring advisors work closely
with faculty and staff to promote academic success and campus involvement. The AMC is dedicated
to advising students, including providing additional tutoring with homework, advice on managing
course loads, information on career options, and emphasized study. The AMC is staffed by instructors
with decades of industry and educational experience.
The AMC is open Monday through Friday from 9:00 AM - 6:00 PM and is located on the north side of
campus. Students must make appointments with members of the AMC for academic assistance. The
AMC availability schedule is posted in the Education offices.
To set an appointment with an Academic Mentor, please email - amc@gnomon.edu or the appropriate
AMC member directly.

Artwork by James Ellis
DISABILITY SERVICES
AMERICANS WITH DISABILITIES ACT AND SECTION 504 OF THE REHABILITATION ACT
In compliance with state and federal laws and regulations, including the Americans with Disabilities
Act of 1990 (ADA; as amended 2008) and Section 504 of the Rehabilitation Act of 1973 (Section 504),
it is Gnomon school policy that not otherwise qualified individual with a recognized disability with
Section 504, shall, solely because of their disability, be excluded from the participation in, be denied the
benefits of, or be subjected to discrimination under any program or activity of the school. The school
recognizes that disabilities include mobility, sensory, health, psychological, and learning disabilities,
and will provide reasonable accommodations to qualified individuals with disabilities to the extent that
it is readily achievable to do so. The school is unable, however, to make accommodations that are
unduly burdensome or that fundamentally alter the nature of the service, program, or activity.
Students diagnosed with a learning, psychological, or physical impairment are required to meet with
the ADA/Section 504 Coordinator (“Coordinator”) to verify the disability in order to receive reasonable
accommodations. Examples of documentation accepted by Gnomon for a learning or psychological
disability are: an Individualized Education Plan (IEP), a 504 Plan, a psycho-educational evaluation, or a
psychological evaluation.
Accommodations cannot be provided unless verification is provided directly to the Coordinator. Once
verification is established, the student and the Coordinator discuss options for reasonable
accommodations. The student is provided an “accommodation letter” to present to the relevant
faculty. Accommodations are reviewed quarterly. No faculty member can give accommodations
without an official written request from the Coordinator. Retroactive accommodations are not
provided. All discussions and documentation will remain confidential.
Questions concerning Gnomon’s disabilities services or accommodations should be forwarded to

Student Affairs via email: studentaffairs@gnomon.edu.

Artwork by Alexandra Reeves
EMPLOYER PREVIEW DAY

Gnomon holds a quarterly event where approximately twenty companies visit the campus, meet with
students, critique work, and are asked for their formal written assessment regarding Gnomon’s
curricula, new technologies and any upcoming technological or art-making trends.
GNOMON EVENTS
Gnomon’s green screen stage regularly hosts inspiring and educational events featuring some of the
entertainment industry’s most talented artists. Whether it’s a making-of feature showcasing the latest
VFX techniques of blockbuster films and triple-A games to paneled discussions with industry leaders
and award winners, events are a valuable experience for students and professionals alike. Attended by
students, alumni, industry artists, recruiters, producers, and enthusiasts, every event offers a chance
to network, create new opportunities, and build relationships.
GNOMON EXTERNSHIP
The goal of the Externship Program for certificate-only students at Gnomon is to further support the
school’s mission. The Externship Program offers a unique opportunity to utilize knowledge gained in
the classroom in a real-world, professional environment. Students in the Bachelor of Fine Arts in Digital
Production program are not eligible to participate in the Externship Program.
Students are eligible to apply for externship opportunities at the following program intervals:
- Digital Production for Entertainment: Term 8
- Entertainment Design & Digital Production: Term 12
Any exceptions to the above will be made on an individual basis under guidance of the Placement &
Alumni Relations Office.
Students interested in pursuing an externship should make arrangements with the Placement and
Alumni Relations Office to discuss the application process and externship requirements. Externships
are not mandatory.

Artwork by Rachael Yang
GNOMON STUDENT ASSISTANCE PROGRAM (GSAP)

The Gnomon Student Services Program (GSAP) is a confidential, free resource to assist students in
managing a wide variety of issues that affect their daily lives such as:
- Stress and anxiety
- Depression
- Alcohol and drug dependency
- Family conflict
- Performance related fears
- Fitting in culturally
Students in need of counseling may call the service telephone number between the hours of 7:30 AM
and 6:30 PM PST to speak with a qualified intake specialist. Should the student choose to seek
counseling, an assigned counselor will contact them to schedule an appointment within 2-3 business
days of their call.
Students receive three face-to-face sessions, per problem per year at no cost. The program also
provides referrals to a variety of wellness-related community resources such as community and
cultural events.
If a student feels that their situation requires immediate assistance, a 24-hour crisis hotline is available,
through which the student can speak to a licensed counselor.
Additionally, the program offers discounts of up to 50% for prescription drugs, as well as discounts on
legal, financial, and document preparation services. Students enrolled in a program at Gnomon are
provided with a brochure and wallet card featuring the phone number and access information.
For more information, please contact the Student Affairs Office at studentaffairs@gnomon.edu.
FIELD TRIPS
Field trips and off-campus tours of galleries and working studios, and other related off-campus
activities, are part of the educational experience at Gnomon. Each student must sign a waiver for each
off-campus trip. Students are required to complete a digital, Field Trip Wavier Form prior to attending
and can obtain the required form by emailing Education Operations at Education.Admin@gnomon.edu.
Gnomon expects that students will conduct themselves in a professional manner at all times during off-
campus activities. The Student Code of Conduct applies to all events both on-and-off campus.

HOUSING ACCOMMODATIONS
Gnomon is a non-residential campus and does
not have dormitory facilities under its control. The
school is not affiliated, does not endorse, and is
not responsible for locating or assisting students
with securing housing. §71810(b)(13)(C)
The Admissions Office updates Gnomon’s

Student Resource Guide, which includes
information about local housing that may be of
interest. A student may request a copy of the
Gnomon Student Resource Guide by emailing
admissions@gnomon.edu or by calling
323.466.6663 for more information.
Gnomon also provides access to the Gnomon’s

Student Services Facebook page in order for new
and incoming students to meet, share housing
postings, and connect. Access to this group must
be approved by speaking with an Admissions
Representative.
For more information, please see:
www.gnomon.edu/admissions/domestic-
students/resources
www.gnomon.edu/admissions/international-
students/resources
Artwork by Ash Ogasawara

GNOMON LIBRARY AND LEARNING RESOURCES
The Gnomon Library offers students a variety of resources to support them in their pursuit of their
educational and professional goals. The Gnomon Library is located near the VR Lab and Figure
Drawing Room. Students are welcome to browse the collections for art books, reference materials,
trade and industry magazines, and other media. There are also many online resources available
through the Student Portal, making it easy to access resources on-campus or off. See the Librarian for
help with checking out Library materials or accessing the online resources.
Learning Resources, located near Labs 1, 2 and 3, is where students may checkout professional grade
HD video cameras, still photography cameras, lighting equipment, tablets, and other equipment for
instructional use. To check out materials or inquire about available resources, students may email the
Systems Engineer at system.engineer@gnomon.edu.
To check out resources/equipment, students must:

- Complete the Gnomon Borrower Agreement: Equipment/Resources Form available from the
on-duty Systems Engineer
- Abide by the rules and regulations set forth in the Gnomon Borrower Agreement: Equipment/
Resources
- Accept full financial responsibility for the care of the materials borrowed
- Return materials in the same condition

The Gnomon Stage is available to students to
complete course assignments such as green
screen shoots, photography, etc. and is also
available to host student club meetings, student
council meetings, etc. Questions regarding the
Gnomon Stage or reservations may be directed
to stagebookings@gnomon.edu.
With prior approval, the Television Center (TVC)

building is available to students for location
filming or photography to complete course
assignments. Questions regarding location
filming at the TVC may be directed to
facilities@gnomon.edu.
The Systems Engineers’ Office is open for media

and equipment checkouts from 9:00 AM - 12:00 AM
(midnight), Monday through Sunday. All equipment
borrowed from the System Engineer’s Office must
be used on the premises and returned the same day
to avoid overdue charges.
Media may only be viewed using a student’s

personal device. Due to Public Performance
restrictions, films may not be viewed/broadcast
in the Student Lounge/ Media Center or in
computer labs.

ONSITE COUNSELOR
Gnomon provides an on-campus counseling service to students seeking a resource for coping skills
and other mental health-related issues. Students are encouraged to utilize Gnomon’s counseling
service in order to talk privately in a safe environment about personal concerns or crisis intervention
situations; examine ways to manage stress, anxiety, sadness or frustration; and identify ways to make
changes in their lives in order to reach their personal or academic goals. Additionally, the service
provides students a way to obtain referrals to outside agencies, groups, clinics, and therapists relating
to issues such as: stress, anxiety, depression, relationship problems, rape and assault, substance
abuse, and other mental health concerns.
Through a confidential, online appointment system, students can schedule free, face-to-face sessions
with the School Counselor during normal school office hours. Gnomon’s School Counselor is a
practicing psychotherapist with a Doctor of Psychology, an active state certified LMFT, and certified
substance abuse counselor.
ORIENTATION FOR FULL-TIME STUDENTS

Prior to starting a full-time program at Gnomon, all accepted students must attend an orientation
session. Orientation materials, including the Gnomon Student Catalog and disclosures, are distributed
to students in advance. Materials are reviewed and questions are addressed in the orientation session.
Orientation provides students with an overview of Gnomon’s policies, procedures, and the criteria for
successful matriculation. At Orientation, students become acquainted with the campus, the staff, and
their peers. Gnomon staff members explain different offices’ obligations, student assistance, and
clarify students’ rights and responsibilities. The Gnomon Student Catalog is distributed.

Artwork by Steven Turner
PEER TUTORING
Gnomon’s Peer Tutoring is solely run by student volunteers in collaboration with the Education Office.
The goal of Gnomon’s Peer Tutoring is to nurture student success through voluntary tutoring delivered
by verified and trained student peers. Peer Tutors have a specialty (or multiple specialties) to provide
students the information needed so they may schedule an appointment with the appropriate tutor.
Any questions may be directed to the Education Office at education.admin@gnomon.edu.
PLACEMENT & ALUMNI SERVICES

Gnomon is proud to have alumni working at film, game, and visual effects studios worldwide and has
consistently maintained an outstanding record of graduate placement. The Placement and Alumni
Relations Office is the liaison between students and employers, serving the students by promoting
Gnomon to the industry and ensuring the school has a growing network of studios and entertainment
companies as part of the Gnomon community.
Gnomon’s Placement Office offers assistance to all program students, and ensures that alumni are
supported during their career. The Placement and Career Services staff is also pleased to assist
students taking courses to further their professional development, if their work is at a sufficient level
for production. Placement assistance is provided at the completion of studies to all graduates, but
placement is not guaranteed.
Career services include:

- Professional career counseling
- Advisement on reels, resumes, and portfolios
- Guidance in researching openings at companies
- Referrals for available positions
- Introductions to individuals and companies in the industry
- Employer job fairs
For the most current placement statistics or further information, please contact the Placement and
Alumni Relations Office via email at placement@gnomon.edu.

Artwork by Allan Bernardo
STUDENT ASSEMBLY
Gnomon holds an all-student assembly on the Stage when appropriate. Students are provided lunch
while given the opportunity to converse with Education staff and faculty, meet other students, discuss
on- and off-campus activities, and receive any important updates relating to their programs.
STUDENT CLUBS
There are various on-campus, student-run clubs which provide an energetic community forum for
collaboration, learning, and experience within specific disciplines.
A staff or faculty liaison will help facilitate scheduling, speakers, and organization. Club activities
include, but are not limited to: guest speakers, sketch events, career-specific lectures, and social
gatherings. Students are welcome to join multiple clubs.
Questions regarding student clubs may be directed to student.council@gnomon.edu.
STUDENT COUNCIL
Student Council meets once per quarter to address any issues students may be experiencing. The
Student Council is entirely voluntary and student managed.
Leadership is in the form of the Student Council Board. These students meet with the general student
population at minimum once per quarter.
Following this meeting, the Board meets with its Staff Advisor to discuss topics addressed in the
general meeting, and collaborate on ongoing and future projects. Common topics covered in each
meeting include student concerns, hardware/software issues, faculty/class issues, and facilities.
Suggestions for future programming, which drive decision-making and strategic planning within the
scope of student services are proposed to, and addressed by, Administration.

Artwork by Lucas Sparks
STUDENT GALLERY
The Gnomon Gallery was established to spotlight the talented artists working in animation, effects and
games whose phenomenal artwork is rarely seen by the public in a traditional gallery setting. Featuring
a wide range of genres and pieces that include sketches, sculptures, props, and digital paintings, the
gallery strives to inspire viewers with behind-the-scenes artwork from some of the industry’s most
creative minds.
STUDENT GNOMON EMAILS

Gnomon provides all program students with an @gnomon.edu email account which also include many
Office 365 applications. All students, staff, and faculty members are expected to only use their official
Gnomon email account for correspondence of academic and administrative nature.
If students do not receive a notification of their @gnomon.edu email accounts by the first day of class,
the student should immediately contact the Technology Office via email at tech@gnomon.edu.
1. School official use of email: Email is the main course for official communication within
Gnomon. Gnomon has the reasonable expectation that such communication will be accessed
and read in a timely fashion. Official email communication is only intended to meet the
academic and administrative needs of the institution.
2. Creation and dissemination of student email accounts: Official Gnomon student email
accounts are provided to all program students. Students receive their email address and
password a week prior to Orientation. Official email addresses will be included in directory
information unless the students request otherwise, under FERPA, through the Registrar.
3. Redirecting of email: Redirecting email does not absolve a student from the responsibilities
associated with official communication sent to their @gnomon.edu email account. Such
forwarding is done by the student, and at the student’s own risk. Gnomon does not accept
responsibility for services performed by outside providers.

4. Student responsibilities regarding use of email: Students are expected to access and read their
email daily to remain current with Gnomon-related communication. Students have the
responsibility to recognize that certain communication may be time-critical. Users should
exercise extreme caution in using email to communicate confidential or sensitive matters, and
should not assume that email is private or confidential. To avoid exceeding maximum storage
allocation, routine maintenance of the account content by the student is expected.
Failure to check email, error in forwarding mail, or email returned to the school with “Mailbox Full” or
“Undeliverable” are not acceptable excuses for missing official Gnomon communication via email.
STUDENT ID CARDS
Every Gnomon student is eligible to receive a Gnomon Student ID card. Please contact the Systems
Engineer on duty to have one made.
Further questions regarding student ID cards, including misplaced cards, may be directed to the
Systems Engineers via email at system.engineer@gnomon.edu.
STUDENT MIXER
Gnomon hosts a quarterly Student Mixer, providing the opportunity for new students to socialize and
network. Present at the event are key staff members from Education, Placement, administration,
among others. Student Club and Student Council representatives also join to offer advice, critique, and
share experiences.

Artwork by Akin Adekile
STUDENT WEB PORTAL

The Student Web Portal is a secure website that allows students access to information including
schedules, grades, account balance and activity, and school notices.
Students will be issued logins and passwords that can be used to gain access to the Student Web
Portal. Passwords can be changed at initial login.
Log into the Student Web Portal at: gno.empower-xl.com/fusebox.cfm
Requests for login assistance and other technical support questions may be directed to the Registrar
at registrar@gnomon.edu.
THE GNOMON STORE

The Gnomon Store sells art supplies and Gnomon merchandise such as t-shirts, hooded sweatshirts,
and hats. Gnomon is proud to promote and sell books and other works authored by Gnomon-affiliated
artists. The Gnomon Store is open Monday through Friday from 9:00 AM - 6:00 PM and during some
special events.

Artwork by Pio Paulo Santana
RECORDS
RECORD RETENTION
Gnomon will maintain student records on campus for each student indefinitely.
FAMILY EDUCATION RIGHTS & PRIVACY ACT (FERPA) -

EDUCATIONAL RECORDS
In accordance with the Family Education Rights and Privacy Act (FERPA) and Gnomon policies, students
have the following rights:
1. The right of the student to inspect and review his or her education records within 45 days of the
date that Gnomon receives a request for access.
Students may submit a written request that identifies the specific record(s) to the Registrar, or
any other appropriate official.
The school official will make arrangements for access and notify the student of the time and
place where the records may be viewed.
Records that are exempted from the right of inspection are:
- Financial records of the parents of the student
- Confidential letters and statements of recommendation
- Records of instructional, supervisory, counseling, and administrative personnel which are in
their sole possession and are not accessible or revealed to any other person except a teacher

2. The right to request the amendment of education records that the student believes is
inaccurate or misleading.
The student should write the school official responsible for the record, clearly identifying the part
of the record(s) in question and specifying why it is inaccurate or misleading.
If the school decides not to amend the record as requested by the student, the school will notify
the student of the decision and advise the student of his or her right to a hearing regarding the
request for amendment. Additional information regarding hearing procedures will be provided to
the student when notified of the right to a hearing.
3. The right of consent to disclosures of identifiable information contained in the student’s
education records, except to the extent that FERPA and California law authorizes disclosure
without consent.
An exception to the policy against disclosure without consent is disclosure to school officials
with legitimate educational interests.
A school official is a person employed by the school in an administrative, supervisory, academic,
research or support-staff position (including law enforcement unit personnel and health staff)
and may include a student serving on an official committee or assisting another school official
in performing his or her tasks. A school official has a legitimate educational interest if the
official needs to review an education record to fulfill his or her professional responsibilities.
4. Release of Educational Information
The school may disclose certain information, known as “directory information,” at its discretion
without consent.
If a student does not want this information released, the student must complete a Non-Release
of Directory Information form, available from the Registrar. Upon request, the school may
disclose education records without a student’s consent to officials of other schools in which a
student seeks or intends to enroll.

Artwork by Nicholas Kelly
The school has established the following information as directory information: student name,
address, email address, telephone number, date and place of birth, weight, height, age, major
field of study, enrollment status (full-or part-time), dates of attendance, participation in officially
recognized activities, degrees and awards received, student’s photograph and the most recent
educational institution attended.
Without the student’s consent and upon authorization of the administration, the school may
release copies of, or otherwise divulge, material in student education records to the following
agencies and individuals who are expressly forbidden from permitting access of said education
records to third parties:
A. An authorized representative of the Controller General of the United States, the Secretary of
Education or administrative head of an education agency, state education officials, or third
respective designees of the United States Office of Civil Rights, where such information is
necessary to audit or evaluate a state or federally supported education program or
pursuant to a federal or state law provided that, except when collection of personally
identifiable information is specifically authorized by federal law, any data collected by such
officials shall be protected in a manner which will not permit the personal identification of
students or their parents by other than those officials, and such personally identifiable data
shall be destroyed when no longer needed for such audit, evaluation and enforcement of
federal legal requirements.
B. Other state and local officials or authorities to the extent that information is specifically
required to be reported.
C. Officials of other public or private schools or schools’ systems, including local, county, or
state correctional facilities where educational programs are provided, where the student
seeks or intends to enroll, or is directed to enroll as provided in Section 76225 of the
Education Code.

D. Agencies or organizations in connection with a student’s application for, or receipt of,

financial aid; provided that information permitting the personal identification of students
may be disclosed only as may be necessary of for such purposes as to determine the
eligibility of the student for financial aid, to determine the amount of the financial aid, to
determine the conditions which will be imposed regarding the financial aid, or to enforce
the terms or conditions of the financial aid.
E. Accrediting organizations in order to carry out their accrediting functions.
F. Organizations conducting studies for, or on behalf of, educational agencies or institutions
for the purpose of developing, validating, or administering predictive tests, administering
student aid programs and improving instruction, if such studies are conducted in such a
manner as will not permit the personal identification of students or their parents by persons
other than representatives of such organizations and such information will be destroyed
when no longer needed for the purpose for which it is collected.
G. Appropriate persons in connection with an emergency if the knowledge of such information
is necessary to protect the health or safety of a student or other persons, or subject to such
regulation as may be issued by the Secretary of Education.
H. Those who have obtained a subpoena or judicial order. The student is to be given notice by
mail or the school’s compliance with the order.
5. The right to file a complaint with the U.S. Department of Education concerning alleged failure by
the school to comply with the requirements of FERPA.
The name and address of the office that administers FERPA is:
Family Policy Compliance Office
U.S. Department of Education
400 Maryland Avenue SW
Washington, DC 20202-4605t

TRANSCRIPT AND LETTER
REQUESTS
An official transcript is maintained for each
student with a complete record of all course
grades and credits earned. Official transcripts
and verification letters will be provided upon
written request if there is no outstanding
financial obligation due and are subject to
payment of the prescribed fee. Official
transcripts can be requested via email at
registrar@gnomon.edu. Additional fees for
rush orders will apply.
Students may also request official transcripts

through the Student Web Portal under the
“Student Services” tab. Payment can be made
using credit card or PayPal.
Artwork by Alvaro Zabala

POLICIES
FACILITIES
Located in Hollywood, home to hundreds of film, game, and television studios, Gnomon is truly in the
heart of the industry.
The Gnomon campus is located at 1015 North Cahuenga Boulevard, Los Angeles, CA 90038, in the
center of the famed Television Center Building (TVC). Gnomon’s facilities are designed to create a
production-like environment with an atmosphere conducive to creativity and learning. Gnomon’s 34,000
square-foot facility houses nine (9) state-of-the-art computer labs, one (1) sculpture studio, one (1)
drawing studio, one VR lab, three (3) lecture labs, the Gnomon Library, and a sound stage equipped with
a 70-foot green screen cyclorama, video, and audio equipment to host presentations and limited stage
lighting equipment.
Other resources available for students include two (2) kitchens, three (3) student lounges equipped with
large screen televisions, vending machines, the Gnomon Store, and the Gnomon Gallery.
PARKING
Street parking is available, but is metered and can be limited. Alternately, parking is available in the lot
directly south of the Gnomon campus on Romaine and Cahuenga. To use this lot, students must obtain
a keycard which can be purchased online through the Student Web Portal for $140.00 per term. Each
keycard is active until the first week of the following term. There is a $15.00 replacement fee if the
keycard is damaged, lost, or stolen. Keycards must be returned at the end of the term.
HOLIDAYS
Gnomon traditionally observes Easter, Thanksgiving, and Christmas. Notifications will be posted if any
other holidays will be observed.

Artwork by Eugenia Gioanina
PREVENTATIVE HEALTH & SAFETY MEASURES

Gnomon facilities provide ergonomically designed workspaces, low reflection wall paint, low frequency
lighting that reduces screen reflectivity and glare, along with ergonomically designed chairs at every lab
workstation. Safety precautions are considered when setting up office and lab spaces at Gnomon.
Health and Safety binders are located in each studio/lab space and contain information on preventative
health and safety measures. Students are encouraged to use them for reference in applicable
situations.
HEALTH INSURANCE
You are required to have health insurance if you are a student as California law requires you to have
health insurance. Unless you qualify for an exemption, you will be required to pay a tax penalty if you go
without health insurance in California. The California law takes effect on January 1, 2020. To avoid the
California tax penalty, you must have what California considers “minimal essential coverage” (MEC) or
prove your eligibility for an exemption
ACCIDENTS & INJURIES

In the event of a life-threatening emergency, call 911 immediately. First aid kits are located in the
Systems Engineer’s Office, the Main Lobby, all student kitchens, offices and classrooms.
All injuries should be reported to an instructor, Systems Engineer or Administrative staff member
immediately. A Gnomon Accident/Injury Report must be completed and submitted to the Facilities
Office as soon as possible.
Please email facilities@gnomon.edu to obtain the Gnomon Accident/Injury Report or for more
information.
If an accident occurs outside of the school classrooms but within the Television Center Complex, please
report the issue immediately to TVC security and the Systems Engineer or administrative staff on duty.
The Gnomon Accident/Injury Report must be filled out along with a TVC incident report form.

Artwork by Francesco Corvino
NON-DISCRIMINATION POLICY
Gnomon does not discriminate in admission, treatment, or access to its programs or activities on the
basis of race, color, national origin, ancestry, sex, gender, gender identification, sexual orientation,
disability, age, religion, physical and/or mental disability, medical condition, veteran status, marital
status or any other characteristic protected by institutional policy or state, local, or federal law. These
practices include, but are not limited to, hiring, employment promotion and transfer, admissions policies,
and administration of loan programs and participation in the benefits and services of education
programs or related activities sponsored by Gnomon.
The institution complies with the Civil Rights Act of 1964, as amended; Title IX of the Education
Amendment Act of 1972; Section 504 of the Rehabilitation Act of 1973; Age Discrimination Act of 1975;
California SB-195 Equity in Higher Education Act, and any other applicable federal, state and local law.
Gnomon is committed to a multicultural workplace and education programs involving cultural and ethnic
diversity among the school’s community.
For more information or if you believe you have been subject to discrimination on the basis of sex,
sexual orientation, gender identity, or disability, please contact:
Title IX and ADA/Section 504 Coordinator

1015 North Cahuenga Blvd.
Los Angeles, CA 90038
studentaffairs@gnomon.edu
323.466.6663

Artwork by Beat Reichenbach
TITLE IX
Title IX of the Higher Education Amendments of 1972, 20 US Code § 1681(a), is a federal law which
prohibits discrimination on the basis of sex in education programs or activities, and includes addressing
sexual harassment, sexual violence, and other gender-based harassment occurring in an institution of
education.
Gnomon is committed to fostering an educational and working climate free from sexual harassment,
sexual assault, and sexual violence. To define conduct expectations and provide recourse for individuals
whose rights have been violated, Gnomon implements a strategic coordination of policies, education,
and clear and equitable procedures for reporting and resolution of complaints of sexual misconduct.
When sexual harassment or sexual assault has occurred, and is brought to the attention of the Title IX
Representative, Gnomon will take steps to end the harassment or violence, prevent its re-occurrence,
and address its effects. A complainant has the right, and can expect to have reports taken seriously by
Gnomon when formally reported, and for the prompt, equitable, reliable, and impartial investigation of
complaints. The school’s Title IX Coordinator has primary responsibility to respond appropriately to, and
investigate suspected discrimination or harassment, and identify and remedy systemic problems.
With the guidance of the Title IX Representative, Gnomon will enact an initial assessment of the conduct,
to the extent possible within the complainant’s expressed preferences, if any, as to course of action, and
the necessity for any interim remedies or accommodations to protect the safety of the complainant and
the community at large.

Inquiries and complaints regarding the
application of Title IX and other laws, regulations
and policies prohibiting discrimination may be
directed to:
Title IX Coordinator
323.466.6663
Questions regarding Title IX may also be

directed to:
Office for Civil Rights

San Francisco Office
U.S. Department of Education
50 Beale Street, Suite 7200
San Francisco, CA 94105-1813
415.486.5555
OCR.SanFrancisco@ed.gov
Artwork by Jin Jo Phang

Artwork by Stefano Farci
HARASSMENT & SEXUAL MISCONDUCT POLICY

Gnomon is committed to providing a safe learning and working environment for students and
employees that is free from all forms of discrimination, harassment, exploitation, or intimidation.
Sexual misconduct is a form of discrimination. Sexual harassment includes unwelcome sexual

advances, requests for sexual favors, and/or verbal or physical conduct of a sexual nature.
This includes, but is not limited to, sexually-related drawings, pictures, jokes, teasing, uninvited touching,
or other sexually-related comments. Gnomon strongly opposes harassment and sexual misconduct and
such behavior is prohibited by school policy and federal and state law. This policy applies to all Gnomon
community members, including students, faculty, administrators, staff, and third parties conducting
business or having any official capacity with the school or on school property.
Gnomon is prepared to take prompt action to prevent and correct such behavior of individuals who
engage in sexual harassment, as well as any other unlawful harassment based on factors such as race,
color, national origin, ancestry, sex, gender, gender identification, sexual orientation, disability, age,
religion, physical and/or mental disability, medical condition, veteran status, marital status, or any other
characteristic protected by institutional policy or state, local, or federal law.
Violations of this policy are not permitted and may result in disciplinary action up to and including
expulsion or termination.
Gnomon encourages any student or employee to immediately report these incidents. Gnomon is
committed to protecting the privacy of all individuals involved in a report of sexual harassment, sexual
misconduct, and sexual violence. Throughout the process of investigation of a report every effort will be
made to protect the privacy interests of all individuals, and respect and safeguard private information, to
the extent possible consistent with the legal obligations of Gnomon to investigate and respond
effectively.

Adverse action will not be taken against a
student or employee who, in good faith, reports
or participates in the investigation of a violation
of this policy. Retaliation against a person who
properly reports, complains about, or
participates in the investigation of such
harassment is strictly prohibited.
For more information, or to file a complaint,

please contact:
Title IX Coordinator
323.466.6663
This policy, the Sexual Misconduct Grievance

Policy and Procedures, and reporting options
are available in full at: gnomon.edu/disclosures-
policies.
Artwork by Michelle Jung

Artwork by Dustin Blattner
GRIEVANCES
To ensure the quality of education at Gnomon, the student grievance process aims to provide a prompt
and equitable resolution for allegations that a school decision or action may have violated institution
policies, or adversely affected a student’s status, rights, or privileges. This procedure is not intended to
be used as a mechanism for students to appeal grades.
Gnomon Procedure:
The student must make a reasonable effort to resolve the issue(s) on an informal basis. Students are
encouraged to communicate their concerns directly to faculty or administration for suitable resolution.
Should the informal process fail to reach an acceptable solution, students may also contact the Student
Affairs Office (studentaffairs@gnomon.edu) to file an official written grievance.
Should a student feel their concern has not been adequately addressed by Gnomon, the student may
contact Bureau for Private Postsecondary Education (BPPE) or Accrediting Commission of Career
Schools & Colleges (ACCSC).
Please see below for each individual procedure.
BPPE Procedure:
A student or any member of the public may file a complaint about this school with the Bureau for Private
Postsecondary Education (BPPE) by calling 888.370.7589 or by completing a complaint form, which can
be obtained on the bureau’s website bppe.ca.gov. §94909(a)(3)(C)

Artwork by Ian Whittaker
ACCSC Procedure:
Schools accredited by the Accrediting Commission of Career Schools and Colleges must have a
procedure and operational plan for handling student complaints. If a student does not feel that the
school has adequately addressed a complaint or concern, the student may consider contacting the
Accrediting Commission.
All complaints reviewed by the Commission must be in written form and should grant permission for the
Commission to forward a copy of the complaint to the school for a response. This can be accomplished
by filing the ACCSC Complaint Form. The complainant(s) will be kept informed as to the status of the
complaint as well as the final resolution by the Commission.
Please direct all inquiries to:

Accrediting Commission of Career Schools & Colleges
2101 Wilson Boulevard, Suite 302,
Arlington, VA 22201
703.247.4212
www.accsc.org
A copy of the ACCSC Complaint Form is available at the school and may be obtained by contacting
Student Affairs at studentaffairs@gnomon.edu or online at accsc.org.

WEAPONS POLICY
Using or possessing any firearm, explosive, or weapon of any kind, regardless of whether the person has
a lawfully-issued permit to carry a concealed weapon, is not permitted.
ALCOHOL & DRUG ABUSE POLICY STATEMENT

In accordance with the Drug-Free Schools and Campuses Regulations (EDGAR Part 86), Federal Drug-
Free Workplace Act 34 CFR Part 85, Subpart F, and California Drug-Free Workplace Act of 1990 this
institution is committed to maintaining a drug-free workplace and a drug-free school.
The unlawful manufacture, distribution, dispensing, possession or use of drugs, drug paraphernalia,
alcohol or other illegal/controlled substances at this institution is strictly prohibited. On-campus
possession and use of medical marijuana is not allowed. Students and employees are required, as a
condition of enrollment and/or employment, to abide by this policy.
To the extent allowed by local state and federal laws, this institution will impose disciplinary action
against students and employees for violating these standards of conduct. These actions may include
suspension, expulsion, termination of employment, referral for prosecution, and/or required completion
of a drug or alcohol rehabilitation or similar program.
In addition to institutional sanctions, students and employees convicted of the unlawful possession or
distribution of illicit drugs or alcohol could face local, state, and federal legal penalties which include the
loss of eligibility for federal financial aid, fines, imprisonment, and the seizure of drug related assets.
This institution, as required by federal regulation (34 CFR 85.635 and Appendix C), will report all
employees convicted of a criminal drug offense occurring in the workplace to the U.S. Department of
Education. Consistent with these same regulations, employees, as a condition of employment, are
required to provide written notice to this institution of their conviction for a criminal drug offense
occurring at the workplace within five (5) days after that conviction.

In addition, students receiving Pell Grants who
are convicted of a criminal drug offense during
the period of enrollment for which the Pell Grant
was awarded, are required by federal regulation
to report that conviction in writing to the:
Director of Grants and Services

United States Department of Education
400 Maryland Avenue SW.
Room 3124, GSA Regional Office Bldg. #3
Washington, DC 20202-4571
The report must be made within 10 days after

the conviction.
Drug awareness programs, counseling,

treatment, rehabilitation and other related
services are available on an ongoing basis to
students and employees through the National
Treatment Referral System 24-hour hotline (800-
662-HELP). This hotline number can tell you
how and where to get help for alcohol and other
drug problems. Students and employees
seeking assistance in overcoming a drug or
alcohol related problem are encouraged to
contact this organization.
Also, available to students is the Gnomon

Student Services Program (GSAP) as a resource
to assist students in managing issues that
affect their daily lives, such as drug, alcohol and
substance abuse. The program is a free,
comprehensive and fully confidential counseling
service that helps students manage a wide
variety of issues in support of their personal and
academic well-being.
Artwork by Alex Huang

Artwork by Leticia Reinaldo & Moran Tenenbaum
PARENTAL NOTIFICATION POLICY

In accordance with the Family Educational Rights and Privacy Act of 1974 (FERPA) and California state
regulations, Gnomon reserves the right to notify the parents/guardians of students under 21 years of
age, and the parents/guardians of dependent students, regardless of age, of any incident in which the
student is found responsible for violating the school alcohol and drug policy.
SPECIAL REQUIREMENTS FOR EMPLOYEES ENGAGED ON FEDERAL OR STATE

CONTRACTS AND GRANTS
This institution, as required by federal regulation (34CFR 85.635 and Appendix C), will report all
employees convicted of a criminal drug offense occurring in the workplace to the U.S. Department of
Education. Consistent with these same regulations, employees, as a condition of employment, are
required to provide written notice to this institution of their conviction for a criminal drug offense
occurring at the workplace within five (5) days after that conviction.
In addition, students receiving Pell Grants who are convicted of a criminal drug offense during the period
of enrollment for which the Pell Grant was awarded, are required by federal regulation to report that
conviction in writing to the:
Director of Grants and Services

United States Department of Education
400 Maryland Avenue SW. Room 3124, GSA Regional Office Bldg. #3
Washington, DC 20202-4571
The report must be made within 10 days after the conviction.

EMERGENCY NOTIFICATION SYSTEM

Gnomon is committed to providing a safe learning and working environment for students, faculty, and
staff. With the exception of term breaks and holidays indicated in the student catalog, Gnomon is open
seven days a week.
In the event of natural disasters, severe weather conditions, or other emergencies, Gnomon may close in
the interest of safety.
Should this action be necessary, Gnomon will provide as much notice as possible allowed by
circumstances to minimize inconvenience.
- Closing for the day: When possible, the decision and announcement will be made by 8:00 AM
- Closing during the day: When conditions warrant closing of Gnomon during the day,
administration will relay this information to all students, faculty, and staff
- Evening courses: In the event that day courses are cancelled, evening courses will also be
considered cancelled
Students, faculty and staff will be contacted through “messageSender,” a Campus Alert System
designed to instantly alert an entire campus community via SMS, voice-calls, and emails in the event of
an emergency or dangerous situation. This message will come from the designated phone number:
323.300.6162. Depending on the nature of the emergency, one or more methods of notification will be
used.

Artwork by Leo Oliveto
VISITORS/MINORS AT GNOMON POLICY

Visitors are welcome at Gnomon. However, if visitors plan to stay for an extended period of time,
permission must be granted by the administration.
All employees of Gnomon have the authority to ask anyone who is being disruptive or disrespectful to
leave the premises. Minors under the age of 18 must be accompanied by an adult at all times.
CAMPUS SECURITY
The Campus Security Act (Public Law 102-26) requires postsecondary institutions to disclose the
number of instances in which certain specific types of crimes have occurred in any building or on any
property owned or controlled by this institution used for activities related to the educational purpose of
the institution, and/or any building or property owned or controlled by student organizations recognized
by this institution.
For a current statistics report, see the below, “2020 Campus Security Act Disclosure Statement.”

CAMPUS SECURITY ACT DISCLOSURE STATEMENT

Gnomon prepares a report each year in compliance with federal law that discloses campus crime. The
crime statistics are compiled using reports made to TVC security, Gnomon faculty and staff, and the
Hollywood Police Department.
A copy of the crime statistics is filed with the U.S. Department of Education and is available online at:
ope.ed.gov/campussafety/. Gnomon’s OPE ID is 04076400.
The Annual Security Report is published annually in compliance with the Campus Crime Statistics Act of
1998. The Campus Security Act (Public Law 102-26) requires postsecondary institutions to disclose the
number of instances in which certain specific types of crimes have occurred in any building or on any
property owned or controlled by this institution which is used for activities related to the educational
purpose of the institution and/or any building or property owned or controlled by student organizations
recognized by this institution. In compliance with that law, the following reflects this institutions’ crime
statistics for the period required.
This institution does not employ campus security personnel but encourages employees, instructors, and
students to immediately report suspected criminal activity or other emergencies to the nearest available
campus security officer, school official, and/or in the event of emergency, to directly contact local law
enforcement or other emergency response agencies by dialing 911.
Only staff members, instructors, students, and other parties having business with this institution should
be on institutional property. Other individuals present on institutional property at any time without the
express permission of the appropriate institutional official(s) shall be viewed as trespassing and may as
such be subject to a fine and/or arrest. In addition, employees, instructors and students present on
institutional property during periods of non-operation without the express permission of the appropriate
institutional official(s) shall also be viewed as trespassing and may also be subject to a fine and/or
arrest.
Though this institution does not offer regularly scheduled crime awareness or prevention programs,
students are encouraged to exercise proper care in seeing to their own personal safety and the safety of
others.

Artwork by Courtney Chun
STUDENT CONDUCT POLICIES

It is the intention of the Student Conduct Code to make clear the school’s expectations of behavior by
students. A productive environment for education and the well-being of the entire Gnomon community
are supported through the principles of respect, social responsibility, integrity, and honesty. Students are
responsible for their own conduct as well as for holding others accountable to these same expectations.
Any student who engages in academic or social misconduct shall be subject to disciplinary action by the
appropriate office of the school.
The Student Conduct Code applies to students’ behaviors both on and off campus if it is determined that
a behavior affects another member of the community’s safety, well-being, or learning environment. This
can also apply to behavior that occurs through social media or other public online media. A student can
be charged with a conduct violation while on a leave of absence. Gnomon reserves the right to withdraw
from any student the privilege of attending Gnomon for any lawful reason that Gnomon deems
appropriate.
In choosing to enroll at Gnomon, students become responsible for their conduct to those standards as
stated in the Student Conduct Code. Gnomon may address student academic and non-academic
misconduct through its own processes, and apply sanctions governing the terms of attendance and
enrollment at Gnomon.

Artwork by Valentin Erbuke
Gnomon reserves the right to respond to misconduct issues, whether law enforcement agencies are
involved and/or criminal charges are pending.
Students are subject to disciplinary action for several types of misconduct, including but not limited to:
- Dishonesty, such as cheating, multiple submission, plagiarism or knowingly furnishing false

information to the school
- Forgery, alteration, or misuse of school documents, keys, or identification
- Filming lectures, either with a camera or their cell phones, under any circumstances
- Theft of, damage to, or destruction of any property of the school or property of others while on
school premises
- Unauthorized entry to or use of school properties, equipment, or resources
- Disruption of teaching, research, administration, or other school activities, and/or combative
behavior in any classroom, office or offsite location
- Physical abuse, threats of violence, all forms of sexual assault, or conduct that threatens the
health or safety of any person on school property · or in connection with official school functions.
- Sexual harassment (verbal or physical)
- Bullying (verbal or physical)
- Disorderly conduct, disturbing the peace, or failure to comply with the direction of a school
employee acting in his/her official capacity
- The use of “fighting words”
- The unlawful manufacture, distribution, dispensing, possession of, and/or use of drugs, drug
paraphernalia, alcohol, or other controlled substances at this institution is strictly prohibited (see
Gnomon’s Drug and Alcohol Abuse Policy Statement). On-campus possession and use of
medical marijuana is not allowed

Behavior that is subject to disciplinary action
under the Student Conduct Code also includes:
- Alleged violations of federal, state or

local law that threaten the safety or
well-being of the campus community
- Any act that constitutes violent behavior
as defined in NCSU REG04.05.02 –
Campus/Workplace Violence Prevention
and Management, and any other behavior
that adversely affects the school or its
educational programs or mission
Any attempt to commit acts prohibited by the

Code may also be addressed through the
conduct process.
All members of the school community - students,

faculty and staff - have the responsibility to
report non-academic misconduct to Student
Affairs/Title IX via studentaffairs@gnomon.edu.
For more information, please see “Student

Conduct Policy” at gnomon.edu/disclosures-
policies
Artwork by Weiyo Sha

PLAGIARISM & ACADEMIC HONESTY POLICY

Gnomon maintains high academic standards, including integrity, honesty, and responsibility in
education. The school assumes that Gnomon students have a basic understanding of the principles of
academic honesty.
While students are encouraged to draw inspiration and reference from other artists, students must resist
plagiarism and maintain academic honesty. Gnomon does not tolerate academic dishonesty.
The following guidelines should assist students in clarifying behaviors that are not acceptable to the
Gnomon community.
- Plagiarism occurs when another person’s ideas, language, or image is borrowed or stolen and is
not properly acknowledged. All ideas, arguments, art, image(s) and phrases submitted without
attribution to other sources must be the creative product of the student. Thus, all and any item
taken from the works of other authors or artists (published or unpublished) must be properly
cited. The same applies to paraphrased text, opinions, data, examples, illustrations, and all other
creative work. Violations of this standard constitute plagiarism
- When presenting written materials, words of another must be placed within quotation marks and
a reference to the source provided. If material is paraphrased or restated in the student’s words, a
reference to the source must also be provided. Instructions for correctly attributing printed or
online sources can be found in the MLA Style Guide, available free online
- Gnomon assumes that artists and designers commonly draw on other artists’ work for reference
and inspiration or to make a commentary on that artist’s work. This type of exploration is
encouraged. However, there is fine line between “drawing inspiration” from a piece and making a
literal copy. When a student represents a literal copy of another artist’s work as his or her own,
this is considered plagiarism

Artwork by Adam Ruzycki
- Cheating is defined as accepting or giving aid to another during a written exam or for a written
report unless authorized by the instructor or accepting or giving aid to another for an individual
studio project unless authorized by the instructor. This includes representing another person’s
work as one’s own or buying or selling written or visual work to be turned in for a class
- Students may not submit the same work for more than one assignment without the written
permission of both instructors
- No students may disclose or exploit the ideas of another without that student’s express written
permission
- Gnomon will deal with violations of these academic honesty on an individual basis. A committee
comprised of faculty and administrators will listen to all cases. If the group is convinced of the
individual’s intention to deceive; the student will be subject to disciplinary action
As electronic information is volatile and easily reproduced, respect for the work and personal expression
of others is especially critical in the visual effects and game communities. Students who violate
authorial integrity and copyright will be subject to disciplinary action.
Instructors must notify the administration of students who have potentially violated Gnomon’s
Plagiarism and Academic Honesty Policy.
Recommended consequences of a student committing academic plagiarism/academic dishonesty

include, but are not limited to:
- A failing grade for the course
- Suspension, probation or dismissal at the discretion of the Administration
The visual effects and games communities are inherently collaborative and tightly connected.
Plagiarists face long-lasting detrimental effects on their careers.
Questions regarding Gnomon’s Plagiarism and Academic Honesty Policy may be directed to the
Education Office at education@gnomon.edu.

LECTURE ETIQUETTE
Gnomon is sensitive to the fact that a great deal of information is given in course lectures. Students are
encouraged to audio record lectures with instructor permission only, but please note that students must
not film lectures, either with a camera or their cell phones, under any circumstances.
STUDIO/LAB ETIQUETTE
Students will be spending many hours in a shared lab space or in the Library and Learning Resource
Center, and must observe the following rules:
- Eating and drinking is prohibited in all labs and designated areas of study
- Student work areas must be kept clean
- Loud talking or disruptive behavior is prohibited
- Listening to music, videos, or other multimedia content must be done through headphones
Please note that all lab hard drives are purged at the end of each term and no student work will be
retained. Gnomon is not responsible for personal belongings or lost data.
STUDENT/FACULTY RELATIONSHIPS
The integrity of the faculty-student relationship is the foundation of Gnomon’s educational mission,
“Gnomon specializes in computer graphics education for careers in the entertainment industry.” This
relationship invests considerable trust in the faculty member, who, in turn, bears authority and
accountability as mentor, educator, and evaluator. The unequal institutional power inherent in this
relationship heightens the vulnerability of the student and the potential for coercion. The pedagogical
relationship between faculty member and student must be protected from influences or activities that
can interfere with learning consistent with the goals and ideals of the school. Whenever a faculty
member is responsible for the academic supervision of a student, a personal relationship between them
of a romantic or sexual nature, even if consensual, is inappropriate. Any such relationship jeopardizes
the integrity of the educational process, and thus, Gnomon may terminate at-will.

STUDENT LIABILITY
Physical injury and/or medical problems, as well as loss of or damage to personal property resulting
from natural disasters, theft, or other causes are not the responsibility of Gnomon. Gnomon
recommends that students carry personal insurance.
Personal property accountability is the responsibility of every student, faculty, and staff. Each individual
must take reasonable precautions to protect their personal property.
The School does not assume responsibility for any lost or stolen personal property. Please keep all
personal property under observation and/or secured.
Students who are the victim of a theft should immediately report it to campus security. Thieves target
credit cards, cash, computers, laptops, cameras, art supplies, bicycles, book-bags or satchels, and other
electronic equipment, in particular.
The following are some preventative measures that can be taken to protect a one’s personal property:
- Avoid leaving personal items unattended. This includes laptops, CD players, iPods, cell phones,
art tools, etc.
- Avoid leaving any personal item overnight any place on campus.
- Keep a list of serial numbers and descriptions of valuables in a safe place. If possible, take a
picture of these items as well. Items without serial numbers can be engraved with a unique
number for identification purposes.
It is recommended that students check their or their family’s personal homeowner’s insurance policy
and secure coverage if needed.

PERSONAL SAFETY
Gnomon is located in the Television Center (TVC), an industrial complex that provides 24-hour security/
surveillance. Students are encouraged to be aware of their surrounding and to take appropriate
precautions:
- Walk in groups to cars at night
- Students who witness anyone or anything suspicious should notify the security officer on duty
- Avoid taking short cuts and going to poorly lit areas
- Stay in places with good visibility and be observant of surroundings
TVC Security Office: 323.462.3992

TVC Security Mobile: 323.381.2820
BICYCLES, SKATEBOARDS & SCOOTERS

Bicycles, skateboards, hoverboards, scooters, and other such forms of transportation may not be ridden
within the Television Center Complex (TVC). Students and visitors are asked to walk with the above
while on campus. Bicycles should only be locked to the bicycle racks provided in designated areas.
SMOKING POLICY
Gnomon respects the smoking policies of the Television Center Complex (TVC) and existing state law.
Smoking is prohibited in any enclosed space including labs, classrooms, walkways, catwalks and other
common areas. Cigarette smoking only is allowed on the north campus, including the Tiki area and
picnic tables adjacent to the enclosed parking area. Students will honor designated smoking and
nonsmoking signs posted throughout TVC.
Students should be considerate and maintain a distance of at least 30 feet from any building, entrance,
exit, or operable window while smoking. This policy covers the smoking of any tobacco product and the
use of oral tobacco products, “spit” tobacco and e-cigarettes, and it applies to staff, faculty, students,
and visitors.

TERMINATION, DISMISSAL & SUSPENSION

TERMINATION POLICY & BORROWER’S AGREEMENT
A student may terminate their enrollment agreement by giving written notice to Gnomon, subject to the
terms as outlined in the Refunds and Returns section of this catalog. Gnomon reserves the right to
terminate the enrollment agreement in the event of (i) a student conduct issue, (ii) destruction of
property by a student, (iii) nonpayment of tuition, (iv) unsatisfactory progress, (v) poor attendance
and/or participation, or (vi) failure to satisfactorily complete all required courses prior to attempting
150% of the credit hours required to complete the quarter. A student’s dissatisfaction with or non-receipt
of educational services offered by Gnomon does not excuse the student from repayment of any grant,
private loan, federal loan, or other loan whatsoever made to the student for enrollment and completion
of study at Gnomon.
DISMISSAL & SUSPENSION POLICY

Gnomon reserves the right to suspend or terminate any student whose attendance, academic
performance, financial standing, or behavior does not comply with school standards, policies,
regulations, and rules. Students may be placed on an applicable probation. During this time, students are
advised as to the level of improvement or the action necessary to rectify the status.
REINSTATEMENT AFTER DISMISSAL

Students who wish to be reinstated after dismissal must reapply to the program and contact the
Admissions Office. Students who were dismissed for Student Conduct breach may not reapply to any of
Gnomon’s programs or enroll in individual/online courses.
Re-enrollment or re-entrance will be approved only after one year has elapsed post-termination and
evidence is shown to the administration’s satisfaction that the conditions that caused the dismissal
have been resolved. Gnomon may require additional information and/or exhibits depending on the
circumstance of dismissal. Gnomon reserves the right to approve or deny additional re-enrollment or re-
entrance attempts after the initial one year waiting period.

APPENDIX 1:
COURSE DESCRIPTIONS
DEGREE STUDIES
Artwork by Josh Herman

Advanced Compositing Animal Drawing
Evaluate the best approach to a shot using The Foundry’s Learn animal anatomy, biomechanics, and dynamic form
NUKE
In this course, students learn the foundations of animal
This course builds on the principles learned in Art of anatomy. Students will be exposed to live animals in a variety
Compositing. Through lectures, demonstrations, and out of settings, learning the basic musculoskeletal anatomy of
of class assignments, students learn to develop advanced quadrupeds, illustration techniques, and dynamic form and
compositing techniques inside of The Foundry’s Nuke. gesture. Lectures cover biomechanics, methodologies of
Compositing techniques such as tracking removal, core gesture, the biology of creature design, and the specifics of
matting, keying challenges, exr multi pass compositing, equine gaiting, behavior, and communication. Students will
2D depth of field and motion blur, 3D projections, matte create a creature for a final project and present it for critique.
painting integration, and 3D relighting will be covered. Students are expected to cover the costs of admissions,
Students will explore various styles of compositing, parking, and supplies, estimated to be between $50 to $80.
learning to accelerate their workflow in a professional
manner, through complex projects for critique. Animation and Visual Effects 1
Discover how to achieve high-quality digital effects
Advanced Digital Sculpting
Use advanced techniques in Pixologic’s Zbrush to create This course exposes students to the methods used to
3D printable models achieve high-quality visual effects animation. Tools are
learned in context with how they are used in a professional
This course focuses on using advanced hard surface production environment, and problem-solving is critical to
sculpting techniques in Pixologic’s ZBrush to create models coursework. This course focuses on Maya’s core tool set
for film, games, and 3D printing. Concepts focusing on form, for producing motion keyframing, procedural modeling
design, and articulation will be combined with lectures and animation, dynamics, and sound synchronization.
on workflow techniques and troubleshooting. The robust Weekly exercises will help cement this important tool set
tool set of ZBrush - including but not limited to ZModeler, into students’ workflows in preparation for working within
Dynamesh, ZRemesher, Panel Loops, Sculptris Pro and different production pipelines.
3D Widget Deformers like Project Primitive - will be shown
to empower students to create high-quality hard surface Animation and Visual Effects 2
models quickly. Students will apply distinctive features and Learn how to use advanced tools to create production
options within the software towards a finalized, detailed, quality animation and digital effects
ready-to-print or rendered hard surface model.
In this course, students combine skills gained in Animation
Anatomy for Artists and Visual Effects 1 with newly introduced concepts to
Explore the foundations of human anatomy through create complex exercises. Advanced assignments in
structural analysis animation, lighting, rendering, simulation, camerawork,
and the creation of animatics will broaden students’
In this course, students learn the foundations of anatomy comprehension of the art of animation. The class covers
through illustrating the structure of the human body. concepts related to the visual, spatial, sound, motion,
Understanding the functionalities of the musculoskeletal interactive, and temporal elements and features of digital
system, proportion, dynamic form, and how light and technology for their use in the creation and application of
shadow affect the body are critical elements of this digital media-based work. Digital cinematography will be
course. Classes include lectures, drawing demonstrations, addressed in lectures to help students achieve compelling
and drawing exercises with live models. Academy-style compositions and camera animations. Students will gain
master copies and skeletal studies based on in-class exposure to the MASH motion graphics tool as well as
work comprise the homework assignments. Students are multiple dynamic simulation tools including particles, fluids,
expected to cover the cost of supplies, estimated between and cloth FXs in this course.
$50 to $80.

Animation for Games Art of Compositing
(Games Concentration specific) Develop essential introductory techniques to compositing
Learn Advanced body mechanics for game design using The Foundry’s Nuke
This course covers the processes and practices of creating This course builds on the principles learned in Introduction
character animation for games projects. Lectures provide to Compositing. Through weekly lectures, in-class practice,
a solid understanding of the role of animation in game and out of class assignments, students learn compositing
development, as well as animation states, transitions and techniques using The Foundry’s Nuke. Emphasis is placed on
cycles, and their roles in animation production and game the user interface, node-based workflows, color correction,
design. The technical and artistic processes of game rotoscoping, color management, painting, tracking, color
animation, while adhering to requirements and limitations keying, matting, and 3D workflows. Classes include
needed for implementation in a game engine, are critical compositing demonstrations, discussions of node-based
elements of this course. Students will create a series methods, project critiques, and industry tips. Students will
of homework assignments and produce a game-ready explore various styles of compositing utilizing Nuke, working
animation set for review and critique. towards a final project for presentation.
Art History 1 Character Animation 1

Survey of the cultural impacts of Western art, architecture, Learn the fundamentals of animation with Autodesk Maya
and design
This course introduces students to 3D character animation
This course is a survey of Western architecture, art, and using Autodesk Maya. The twelve principles of animation
design, and the cultural implications of critical works will be used to help students develop strong 3D character
of art through history. Diverse artistic traditions and animation skills in Maya, while gaining exposure to
methodologies from prehistory to modernism will be animation rigs and powerful tools like the Graph Editor.
covered as students expand their research techniques Assignments such as executing a bouncing ball, walk and
and develop analytical skills. An emphasis is placed jump cycles, and an introduction to rigging will be taught.
on integrating the development of art forms with the Production workflows and techniques are learned through
geographic, sociopolitical, philosophical, and religious lectures, demonstrations, and weekly homework exercises.
characteristics of these cultures. Individual and group Students will cement core animation skills which build in
projects round out this course of study. Students are complexity over the course of the class, culminating in a final
expected to cover the cost of supplies, estimated between project for critique and review.
$10 to $15.
Character Animation 2
Art History 2 Translate body mechanics into 3D animation
Explore connections between the history of art, design,
and architecture This course covers the processes and techniques used to
create believable and appealing bipedal body mechanics
This course is an advanced exploration of the history of in animation. The exploration of topics such as walking,
art, using knowledge gained in Art History 1. Students running, jumping, throwing, and heavy lifting will be utilized
will expand their research abilities, analyze and evaluate to create physically accurate motion for bipedal characters.
critical works of art, and relate their discoveries to the Through in-class lectures, demos, and homework exercises,
impact of the visualization of technology. Through an students will develop a better understanding of the subtleties
intensive in-class study of cultures and artistic movements of believable character animation and continue to refine
the world over, combined with lecture, discourse, and efficient Autodesk Maya production animation workflows.
relevant at-home assignments, students obtain a greater Through the term, weekly exercises in walk and run cycles,
understanding of art’s varying and complex relationship to crafting fluid animated movement, and timing and spacing
our own desire to create. will build upon each other, culminating in the creation of a
complex action driven character animation mini reel in Maya.

Character Animation 3 Character Design
Apply emotion and performance to character animation Learn the fundamental aspects of character design
This course is an advanced exploration of the acting and This course teaches the process of character design in the
performance aspects of character animation in Autodesk entertainment industry. Students create characters from
Maya. Building upon the mechanical and technical start to finish, going through the pre-production stages of
concepts covered in the previous two animation courses, research, concept, and the craft of editing before a final
students will be introduced to methods for adding appeal, presentation of a well-developed character. Thumbnailing,
purpose, and emotion to their characters. Methods of silhouette design, figure invention and posing, prop and
time management and planning will be taught so students costume design, character archetypes, storytelling,
can work towards achieving polished pieces. Through in- and illustration techniques will be discussed. At-home
class lectures, demonstrations, and homework exercises, assignments developing characters with industry-standard
students will develop a better understanding of the methods round out this course. Students are expected to
subtleties of performance-driven animation and how to cover the cost of supplies, estimated to be between $0 to
invoke a response in the audience. Students will produce $15.
several polished performance-centric animated scenes,
using body language and facial expression, throughout Character Modeling and Sculpting
the course for ongoing group review, culminating in a final Use classical techniques to create bipedal production
presentation for critique. models
Character Animation 4 This course teaches students to build balanced bipedal

Develop complex facial animation techniques characters, merging the traditional art of sculpting with
digital modeling techniques. Autodesk Maya, in conjunction
This course provides students with an in-depth look at the with Pixologic’s ZBrush, is used to create appealing and
process of creating strong, appealing facial animations and functional characters in 3D. Students will focus on the
lip-sync techniques. Students learn to create emotionally technical processes needed to create detailed production
convincing performances through expression and dialogue. models. Lectures and demonstrations cover the use of
Through in-class lectures, demonstrations, and at-home anatomy as it pertains to modeling bipeds, clothing, and
exercises, students develop a better understanding of the accessories, as well as the technical needs for creating
subtleties of professional, emotive facial animation. high quality deformable characters for animation. Over the
term students will complete a fully modeled and sculpted
character with animation-ready topology for critique.
Character Creation for Games
(Games Concentration specific)
Optimize artistic approaches to deformable character Character Rigging for Production
creation Explore the complex challenges in rigging for production
This course builds on the fundamentals learned in This course builds on the principles learned in Character
Character Modeling and Sculpting and through weekly Rigging Fundamentals, and through weekly lectures, in-class
lectures, in-class practice, and out of class assignments, practice, and out of class assignments, expands student
introduces students to workflows specific to creating real- learning in creating deformation on a biped character rig
time character models for games. The course covers topics in Autodesk Maya. Emphasis is placed on deformation
including creation of hair cards and realistic cloth, working techniques, including skin clusters, painting skin weights,
with hard surface elements, and building clean and efficient corrective blendshapes, facial rigs using blendshapes, cloth
low poly meshes. Classes include a mixture of weekly setups, the basics of muscles, and quadruped rigs. Classes
sculpting and modeling demonstrations, discussions of include rigging demonstrations, discussions of production
texturing methods, and in-class exercises. Students will workflows, and project critiques. Students will explore
learn character techniques through homework assignments various styles of rigging through homework assignments
which build towards a final class project. and work towards a final project.

Character Rigging Fundamentals Creature Animation 1
Learn the foundations of character rigging in Autodesk Adapt traditional mechanics to animal animation
Maya
This course expands on the skills learned in previous
This course builds on the principles learned in Introduction character animation course but shifts the focus to animating
to 3D with Maya, and through lectures, in-class practice, believable real-world creatures in Autodesk Maya. Students
and out of class assignments, expands student learning in develop a better understanding of quadrupedal and winged
developing character animation rigs inside of Autodesk’s animal anatomy and behavior as the foundation of creature
Maya. Emphasis is placed on understanding how to create animation. Through detailed analyses of reference footage,
joints, attributes, constraints, basic skinning, inverse and aided by in-class demonstrations and lectures, students will
forward kinematics controls, and ik spline, while building produce creature animation locomotion cycles. This course
a basic biped rig. Classes include a mixture of rigging also introduces technical methods to students to optimize
demonstrations and discussions of the role of a rigger in work flow in professional production environments. Multi-
production, as well as setup critiques and industry tips. week projects will increase in complexity throughout the
Students will explore various styles of rigging through term, culminating in the completion of several believable
weekly assignments and work towards creating a biped rig creature animations demonstrating walking, running, and
in Maya. flying, to be presented for critique. Students are expected
to cover the cost of supplies, estimated to be between $15 -
$30.
Color Theory and Light
Explore the fundamentals of color theory
Creature Modeling and Sculpting
This course explores the practical 2D applications Apply advanced ZBrush methods to creature modeling
of the fundamentals of light and color. Lectures and
demonstrations cover topics such as bounced light, camera In this course, students learn to create complex and
effects, value patterns, shadows, and atmospherics. Value believable 3D creatures in Pixologic’s ZBrush. Classes will
scale and color wheel exercises, and at-home assignments focus on design, research, and creating appealing forms
in traditional media reinforce learned successful as they relate to inventing creatures for the entertainment
applications of color harmonies and atmospheric industry. Real-world demonstrations, lectures, and critiques
principles. Gaining experience in the foundation of color center on resolving pipeline and design issues that may
provides students with the ability to expand on existing occur during the creation process. Students will design,
visual techniques. Students are expected to cover the cost sculpt, and render high quality 3D creatures using Pixologic’s
of supplies, estimated between $80 to $120. ZBrush throughout the term, culminating in a posed,
high-quality creature concept model created from their
imagination.
Costumed Figure Drawing
Apply foundational figure drawing techniques to
costumed characters Cultural Studies
An exploration of the sociopolitical and historical
This course explores drawing fully-realized characters perceptions of identity
in costume. Students will learn to analyze figures with
a special emphasis on understanding the anatomical In this course, students will identify the sociopolitical and
form beneath the costume. The course provides a strong historical perceptions of a variety of cultural concepts.
foundation in figure construction, utilizing light and Changing attitudes about class, economy, gender roles, and
shadow, and the mechanics of drapery. Exercises are the shifting landscapes of a global identity will be discussed.
designed to explore storytelling, composition, caricature, Students will apply knowledge gained through analysis of
and characterization, with at-home assignments revolving readings and lectures to their overall comprehension of the
around master copies and costume research from various identities of relevant cultures.
cultures. Students are expected to cover the cost of
supplies, estimated to be between $30 to $35.

Demo Reel 1 Digital Matte Painting
Create a professional-quality demo reel Create complex matte paintings in 2D and 3D
This course is a portfolio development class structured This course builds on the principles learned in Digital
so students can create polished, professional-quality Painting. Students will learn the art of digital matte painting
deliverables. Students work with their instructor to develop using Adobe Photoshop and The Foundry’s Nuke. Emphasis
multiple completed portfolio pieces throughout the term. is placed on photo manipulation, lighting, atmosphere,
One-on-one feedback and critique stimulates professional compositions, color matching, layer setups, 3D render
growth and provide a real understanding of what is needed paintovers, 2.5D projections, set extensions, and plate
to create projects for production in the entertainment cleanup. Classes include a mixture of demonstrations, group
industry. discussions of production workflows, and in-class exercises,
as well as portfolio critiques and industry tips. Students will
explore various styles of matte painting and work towards
Demo Reel 2
polished final projects.
Create a professional-quality demo reel
This course is a portfolio development class structured Digital Painting

so students can create polished, professional-quality Learn the basics of painting in Adobe Photoshop
deliverables. Students work with their instructor to develop
multiple completed portfolio pieces throughout the term. In this course, students learn to translate traditional painting
One-on-one feedback and critique stimulates professional and drawing skills into the digital medium of painting
growth and provide a real understanding of what is needed in Adobe Photoshop. Fundamental concepts such as
to create projects for production in the entertainment perspective, value, and color are reinforced as students gain
industry. experience with using painting tools in digital art production.
Through lectures, demonstrations, and in-class exercises,
students apply fundamental concepts of light, composition
Demo Reel 3
and material definition to their assignments and a final
project.
This course is a portfolio development class structured
so students can create polished, professional-quality Digital Photography
deliverables. Students work with their instructor to develop Learn the technical basics of digital photography
multiple completed portfolio pieces throughout the term.
One-on-one feedback and critique stimulates professional This course covers the basics of digital photography and
growth and provide a real understanding of what is needed its role in the visual effects and game industries. The
to create projects for production in the entertainment fundamentals of color theory, lighting, and composition
industry. are central to students’ learning. The class will expand to
advanced production topics including color correction,
Demo Reel 4 color grading, accurately photographing textures for use in
3D, spherical panoramic photography, high-dynamic range
Complete final projects for generalist portfolio reel
imaging, working with camera raw files, and post-production
This course is a portfolio development class structured workflow. Hands-on exercises, in-class lectures, and
so students can create polished, professional-quality demonstrations will help students become familiar with the
deliverables. Students work with their instructor to develop photographic processes necessary for success in the film
multiple completed portfolio pieces throughout the term. and games industries. Students are expected to cover the
One-on-one feedback and critique stimulates professional cost of supplies, estimated at $45.
growth and provide a real understanding of what is needed
to create projects for production in the entertainment
industry.

Digital Sculpting Dynamic Effects 1
Learn the technical basics of sculpting with Pixologic Learn the foundation of dynamics in Autodesk Maya
ZBrush
In this course, students are introduced to a wide range of
This course introduces Pixologic’s ZBrush and its role powerful dynamic particle simulations solutions inside
in digital sculpting, 3D art, 3D printing, and illustration. of Autodesk Maya. Students will become familiar with
Students learn the interface, tools, and workflows used how to create simple to complex visual effects like rain,
to proficiently create digital models and sculptures using dust, fire, smoke, bullets, and meteor showers. Tools like
ZBrush and Maya. Artistic processes including creating nParticles, Maya Legacy Particles, and Maya Fluids will
models from the ground up, high frequency detail creation, be taught alongside professional production workflows.
and texturing techniques are taught using the robust Through demonstrations, lectures, analysis of reference,
ZBrush feature set. Tools such as the powerful sculpting and homework rendering exercises which reinforce in-class
brushes, ZSpheres, Dynamesh, and more are used to show learning, students will gain techniques for understanding and
students how to create high quality 3D sculptures with exploring particle emission, emitters, and how to creatively
confidence. Production workflows such as importing, control the look and feel of the wide range of Maya dynamic
exporting, and map generation are also covered to ensure simulation tools. Students will create many different visual
students utilize the work created in ZBrush in other effects shots using a wide range of artistic and technical
applications. methods, culminating in a final project that leverages the
skills and techniques learned over the course of the term.
Digital Sets
Learn advanced techniques for creating natural and Dynamic Effects 2
architectural environments Learn to create fundamental dynamic effects
This course provides an examination of the techniques and In this course, students will build upon the foundations of
strategies used to create rich and believable digital sets, particle simulation effects gained in Dynamic Effects 1. An
environments, and realistic assets. Topics covered include array of associated techniques required to create a wide
photography, photogrammetry using Agisoft Photoscan, range of dynamic effects in live action plates will be taught
manual and procedural modeling tools like SpeedTree and in this course. Lectures, demonstrations, and homework
World Machine, texturing, and environmental lighting. Over assignments which reflect in-class learning provide students
the course of the term, students will learn the process of with the impetus to develop their own artistic styles.
building fantastic believable worlds in 3D using a wide Systems like nParticles, Soft Bodies, nCloth, and instance-
range of techniques and tools for use in multiple rendering based dynamic solutions will be taught alongside real-world
engines. Students are expected to cover the cost of production tasks to create appealing visual effects shots
supplies, estimated at $45. which will be held to a standard of professional quality.
Students will create and render multiple dynamic effects
shots, culminating in a final presentation for critique and
review.

Dynamic Effects 3 Environment Creation for Games
Simulate and render fluids with Autodesk Maya. (Games Concentration specific)
Learn to build interactive environments for games
This course builds upon the principles learned in Dynamic
Effects 1 and 2. Real-world demolition and destruction This course presents students with the techniques
effects will be taught. Students will learn fluid simulation, currently used in game production to create complex real-
shattering, and advanced particle effects techniques time environments. Course lecture topics cover building
using Autodesk Maya and industry standard plugins like modular assets on a grid, sculpting tiled textures, and set
Fracture FX, Phoenix FD, and Soup, as well as how to dressing. Proficiencies highlighted in the class include scene
render fx elements in VRay. Students will understand the composition and efficiency, modeling and sculpting, baking
process of crafting advanced destruction shots and how to and transferring maps, creating textures and materials,
build their own procedural tools using techniques learned and level assembly. Students will progressively learn skills
through lectures, demonstrations, and critiques. Homework through homework assignments which build towards
assignments support in-class learning through the weekly developing a lit and color graded final portfolio piece for
execution of effects simulations. This course is project- presentation and critique.
based and will culminate in students creating a final fx shot,
complete with rendering and compositing, for review. Figure Drawing
Develop skills in foundational figure drawing
Dynamic Effects 4
Build a dynamic effects sequence with Autodesk Maya and In this course, students learn to draw the human figure,
Houdini FX utilizing both traditional and non-traditional principles and
techniques. The principles of form and gesture are applied
This course focuses on advancing students’ knowledge of to in-class live model sketching and homework figurative
how to complete complex production-quality visual effects studies. Communicating gesture, creating accurate anatomy
sequences. Students will be guided through advanced and proportion, and developing a body of figurative portfolio
production tools and techniques, utilizing multiple fluid work are inherent to this course, supported by in-class
solvers and advanced cloud and particle workflows in demonstrations and lectures. Students are expected to
Houdini, Maya Fluids, and Phoenix FD. The methods for cover the cost of supplies, estimated between $0 to $20.
setting up dynamic and non-dynamic simulations for live
action and full CG production shot assets and sequences Game Creation 1
will be covered. Lectures, in-class demonstrations, and Gain an in-depth understanding of the process of game
homework assignments in support of midterm and final creation
project development will help students gain and develop a
solid understanding of how to leverage multiple programs This course is designed to give students an introductory
to create a cohesive effect. Students will create an entire understanding of working with game content in the Unreal
visual effects sequence over the course of the term for final Engine 4 toolset. Through lectures and demonstrations,
review and critique. It is recommended students take an students will grasp the Unreal Engine 4 import pipeline,
introductory Houdini class before taking this class. set up an interactive asset, build a short cinematic, and
create simple material networks. Classes include a mixture
Earth Science of weekly in-engine demonstrations, discussions of asset
Study the elements of earth science creation methods, and in-class critique of homework and
projects. Students will learn basic game production pipeline
This survey course introduces students to the basic through homework assignments and work towards a final
concepts of earth science and the processes which shape class project for review.
the physical realms of our planet, the solar system, the
galaxy, and the universe. Understanding geotectonics,
identifying earth materials, and applying this knowledge to
an interpretation of earth history is central to this general
education course. Students are expected to cover the costs
of supplies, estimated to be between $25 to $30.

Game Creation 2 Game Design
(Games Concentration specific) (Games Concentration specific)
Create immersive real-time worlds in games Define game design through exploration of fundamental
ideas and techniques
This course builds on the topics and techniques presented
in Game Creation 1. With an emphasis on creating real-time This course focuses on the fundamental ideas and
worlds, students will dig into workflows and techniques techniques that define compelling game design. Exercises,
for creating terrains, foliage, and destructible meshes, lectures, and demonstrations will instruct students in
utilizing Unreal Engine 4’s specific tools for creating how to build the foundations of a vertical slice game
natural environments. Classes include a mixture of weekly project, including a treatment of mechanics, gameplay,
in-engine demonstrations, discussions of world building and storytelling. Students will explore the creation of a
methods, and in-class critique of homework and projects. game design document, playtest a paper prototype of their
Students will learn these environment tools through creation, and conceptualize controls for their game idea.
homework assignments which build towards a final class Weekly assignments that tie into corresponding lectures will
project. instruct students in how to create a final project.
Game Creation 3 Hard Surface Modeling 1

(Games Concentration specific) Learn the fundamentals of creating 3D models
Explore the technical side of real-time game creation
In this course, students learn the fundamentals of creating
This course builds on the basics learned in Game Creation 3D models with polygon geometry. Lectures delve into the
1 and delves into Unreal Engine 4’s toolset for incorporating various production techniques of asset creation through
animation into real-time projects. Students will learn the exploration of polygonal modeling and the preparation
the character asset production pipeline, beginning with of constructed models for texturing. The basic toolset in
rigging and animation in Maya and building to export and Autodesk Maya will be covered, and students will benefit
implementation in Unreal Engine 4. Classes include a from lectures about the technical and aesthetic issues that
mixture of weekly in-engine demonstrations and in-class professional modelers face while modeling environments
critique of homework and projects. Students will create and man-made objects. Students will create weekly models
a series of homework assignments and a final project for throughout the term and the class will culminate in a final
review and critique. project consisting of building an intermediate to complex
model like a vehicle, robot, or prop.
Game Creation 4
Explore the technical production techniques necessary for
game creation
This course expands on techniques from the previous

Game Creation courses and explores intermediate and
advanced techniques in visual scripting through Unreal
Engine 4’s Blueprint system. Classes are split between
lectures on the logical underpinning of scripting techniques,
live demonstrations of those techniques, and guided
hands-on lab work where students can put their learning
to practical use. Students will learn Blueprint scripting
concepts to create mechanics and interactions through
their homework assignments, which build towards a final
class project.

HD Digital Filmmaking for VFX Houdini 1
Learn the essentials of digital camerawork for CG projects Learn the technical basics of SideFX Houdini
This course builds on the principles learned in Animation This course builds on the fundamental concepts of 3D by
developing procedural content creation inside of SideFX’s
and Visual Effects, and through weekly lectures and out Houdini. Emphasis is placed on creating 3D scenes utilizing
of class assignments, expands student learning in the a procedural node based network, including animation,
essentials for integrating digital camera work into CG scattering, vegetation, terrain, and oceans, all rendered inside
projects. Lectures include the technical aspects of the Houdini. Classes include a mixture of weekly demonstrations
DV format, equipment choices and usage, terminology, and discussions, as well as project critiques and industry
and staging and lighting techniques. Students learn the tips. Students will explore various styles of procedural
essentials of DV camera operation and the technical side networks through homework assignments, working towards
of video formats. The output methodology for different a polished final project created using Houdini.
applications is discussed so that students can take their
DV footage and integrate it into their final CG projects.
Compositing integration includes chroma keying and color Introduction to 3D with Maya
matching in Nuke, post color grading in Premiere, and Learn the technical basics of Autodesk Maya
Speed Grade. Classes include a mixture of camera and This course focuses on the foundation of 3D computer
software demonstrations and in-class exercises, as well graphics using Autodesk Maya. Students are introduced to
as project critiques and industry tips. Students will explore the Maya interface and philosophy, as well as 3D modeling,
various styles of shooting digital video footage through texturing, lighting, rendering, and animation. Lectures
homework assignments and work towards a polished final cover the applications of these tools in the film and game
project. industries. This course will prepare students to face both
artistic and technical challenges when creating accurate
History and Principles of Animation and compelling 3D images, helping to build a foundational
Survey the historical techniques of animation understanding of both technical workflows and art and
design aesthetics. Students will work on multiple projects
This course introduces students to the history and throughout the course for critique that will help establish
techniques of animation. Lectures and demonstrations use a solid 3D skill set in both realistic and conceptual 3D
the Twelve Principles of Animation as a springboard into computer generated art.
deconstructing the visuals of both animated and live-action
films. Students learn to address issues such as planning a
scene, thumbnailing, understanding traditional animation Introduction to Compositing
techniques, and to improve their draftsmanship. Executing Use layering to create composited imagery in After Effects
basic animation tests, sketchbook development, and This class introduces students to the basics of compositing.
working towards completing an animated walk cycle are Through weekly lectures, in-class exercises, and homework
critical elements to this course. Students are expected to assignments, students will learn the fundamental concepts
cover the cost of supplies, estimated between $15 to $20. of compositing inside of Adobe’s After Effects. Emphasis
is placed on the user interface, compositions, keyframing,
layers, footage, color keying, 3D layers, and a variety of tools
utilized in compositing workflows. Classes include After
Effects demonstrations and discussions of compositing
methods, as well as project critiques and industry tips.
Students will explore various styles of compositing through
their assignments, working towards a final project for
presentation.

Language Arts 1 Lighting and Rendering 1
Study the art and craft of writing Learn the basics of lighting in Autodesk Maya and V-Ray
In this course, students will conduct in-depth analyses of This course builds on the principles learned in Introduction
historically significant written works and apply rhetoric to 3D in Maya. Students will learn to create artistic and
and argument in order to develop a well-defined cultural cinematic lighting setups with Autodesk’s Maya and Chaos
perspective. Literary themes will be discussed and Group’s VRay. Instruction covers creating renders that
explored in coherently-written texts and essays. A focused enhance visual storytelling through lighting, techniques to
progression through the stages of the writing process is light characters, products, exterior and interior environments,
critical to the completion of this course. and lighting for live action footage. Classes include a mixture
of weekly lighting demonstrations, discussions of cinematic
approaches using industry standard methods, project
Language Arts 2
critiques, and industry tips. Students will explore various
Develop advanced skills in the art and craft of writing
styles of lighting through homework assignments and work
The focus of this course will be on furthering students’ towards completing a polished final project for review.
studies of the art and craft of advanced fiction writing,
using the fundamental skills gained in Language Arts 1. Lighting and Rendering 2
Through weekly lectures, exercises, reading assignments, Study the technical aspects of lighting in Autodesk Maya
and complex homework assignments, students will and V-Ray
gain experience in the analysis of relevant works. The
application of learned methodologies to personal projects This course builds on the principles learned in Lighting and
as well as inclass exercises and discussions is critical to Rendering 1. Through weekly lectures and demonstrations,
this course. students gain experience in the technical side of lighting
and rendering inside of Autodesk’s Maya, Chaos Group’s
VRay, and The Foundry’s Nuke. Emphasis is placed on image
Level Design
sampling, quality versus speed in the render, GI sampling,
frame sequences, handling artifacts, baking GI, multi pass
Explore the process of 2D and 3D level design for games
rendering and assembly in Nuke, motion blur, depth of
This course illustrates and exemplifies the role of a level field, atmospheric fog, caustics, and 3D integration into
designer on a game project as they carry out the task of live action in Nuke. Classes will cover technical rendering
defining and generating a playable space. Through weekly demonstrations, discussions of production problems, project
lectures, in-class practice, and homework assignments, critiques, and industry tips. Students will explore various
students will examine the process of greyboxing and methods of troubleshooting 3D renders through homework
level layout, become familiar with the concepts of pathing assignments and work towards a polished final project.
and reveals, and recognize the importance of the use of
modularity and elevation. Classes include a mixture of
weekly in-engine demonstrations and in-class critique of
homework and projects. Students will create a series of
homework assignments and a final project for review and
critique.

Lighting and Rendering 3 Look Development
Study alternative solutions for industry standard rendering Delve into the technical challenges of creating surfaces
softwares and techniques for look development
This course builds on the principles learned in Lighting and This course builds on the principles learned in multiple
Rendering 2. Students will learn to create renders utilizing intermediate courses, such as Lighting and Rendering and
Solid Angle’s Arnold and Redshift inside of Autodesk’s Texturing and Shading. Students will learn the tools and
Maya. Emphasis is placed on experiencing a shot-based techniques necessary for look development with Autodesk’s
production environment, learning the fundamentals of Maya, Chaos Group’s VRay, and The Foundry’s Nuke and
unbiased rendering with Arnold, and biased gpu rendering Mari. In-class lectures cover developing the look of and
with Redshift. An in-depth look of both renderers’ materials, polishing 3D renders in different areas of the production
lights, object properties, and render settings will be environment, including characters and environments. Topics
taught. Classes include a mixture of weekly technical include subsurface scattering for characters, translucent
demonstrations, discussions of production workflows, materials, human eyes, vegetation, and terrains, as well as
project critiques, and industry tips. Students will explore the utilization of multi mattes to polish 3D renders. Student
various styles of shot production workflows, working learning will benefit from demonstrations of creating
towards a polished final shot sequence. atmosphere and mixing live action elements with cg effects.
Homework assignments and a polished final project for
critique and review round out this advanced course.
Lighting and Rendering 4
Create high quality images using production rendering
techniques Matchmoving and Integration
Use camera tracking to integrate 3D scenes into a live
This course builds on the principles learned in Lighting action plate
and Rendering 3, and through weekly lectures, in-class
practice, and homework assignments, expands student This course builds on the principles learned in HD Digital
learning in developing production rendering techniques in Filmmaking for VFX, and will expand student learning in
Autodesk’s Maya, Chaos Group’s VRay, and The Foundry’s camera tracking fundamentals and integration using The
Nuke. Emphasis is placed on production workflows and Pixel Farm’s PFTrack and The Foundry’s Nuke. Emphasis is
integrating more control between Maya and Nuke, blurring placed on match moving fundamentals, hand tracking and
the lines between what control is possible between the masking, distortion workflow, zoom shot, object tracking,
3D and 2D software. Methods are taught through VRay color grading, and finishing. Classes include a mixture of
Render Elements, including compositing raw elements weekly tracking demonstrations, discussions of production
the right way, handling antialiasing of renders, deep workflows, and complex exercises, as well as portfolio
compositing, and 2.5D relighting with Normals and critiques and industry tips. Students will explore various
World position. Classes include a mixture of lighting and styles of tracking through homework assignments and work
rendering demonstrations and in-class exercises, as well toward polished conceptual projects.
as project critiques and industry tips. Students will explore
various styles of production workflows through complex Maya Modules
assignments and work towards a polished final project. Learn advanced specialized toolsets in Autodesk Maya
This course is an advanced 3D animation and design course

where students will explore lesser known and specialized
systems inside and out of Autodesk Maya. Topics covered in
lectures and demonstrations will include dynamics, fur, hair,
cloth, arbitrary primitive generation, and procedural asset
creation. Tools like XGen, nCloth, and Paint Effects will be
used to showcase the depth and power available to artists in
Maya. Students will also learn to build clothing in Marvelous
Designer for use in a Maya animation and rendering pipeline.
Weekly assignments will guide students through these
complex processes of creating character FX and simulations,
allowing these powerful tools to bring future projects to life.

Narrative Structure Perspective
Develop a deep understanding of narrative structure Learn the traditional principles of perspective
through story and character analysis
This course teaches students how to approach a variety
This course further explores the representations of of subjects using traditional methods of perspective.
structure as it applies to various forms of narrative using Students will develop an understanding of managing scale,
the skills gained in Language Arts 2. Lectures, discussions, measurement, shadows, composition, and the overall
and exercises dissect complex interpretations of story and mechanics of one-, two-, and three-point perspective, all
character through traditional methods of analysis. Students supported by in-class lectures and demonstrations. Complex
will delve into the psychology of storytelling and clarify how at-home assignments utilize these methods to illustrate
mood and tone are manipulated and expressed within a relevant subjects such as spacecraft and vehicles, building
visual context. Using source material, students will develop towards the presentation of final projects. Students are
a term-long cinematic or game project which expresses expected to cover the cost of supplies, estimated between
the meaningful application of purpose-driven storytelling. $50 to $80.
Students will gain experience in professional presentation
and time management. Students are expected to cover the Photoshop for Digital Production
cost of supplies, estimated to be between $0 to $10. Build an understanding of the principles of Adobe
Photoshop
Oral Communication
Explore communication techniques and planning skills in This course provides students with a working foundation
collaborative work environments of the interface and tools of Adobe Photoshop. Through
lectures, demonstrations, and exercises, students learn tools
This course in public and interpersonal speaking includes for photographic retouching, color treatment, use of layers
organization of speech materials, participation in panel and selections, photographic manipulation, and compositing.
discussions and critiques, and presentations of informal Students will gain the ability to create and utilize advanced
talks and formal speeches. Communication and planning photo manipulation and image editing techniques to create
skills required for interpersonal, academic, and career 2D images and assist 3D design. Over the 10 weeks students
success are emphasized, as are methods for goal-setting will become practiced in the flexibility and power of Adobe
and learning employment strategies. Students will build a Photoshop as it relates to a digital production workflow.
language of professionalism through at-home exercises
and assignments, as well as a final presentation. Portfolio Preparation
Intensive workshop experience in portfolio preparation
Overview of Digital Production
Survey the processes of production in film, games, and This course provides students with a working foundation
visual effects of the interface and tools of Adobe Photoshop. Through
lectures, demonstrations, and exercises, students learn tools
This course provides students with a thorough for photographic retouching, color treatment, use of layers
understanding of the processes involved in the production and selections, photographic manipulation, and compositing.
of content for film, games, and visual effects. Students Students will gain the ability to create and utilize advanced
learn the different types of facilities that produce VFX photo manipulation and image editing techniques to create
media and how their pipelines may differ. This course also 2D images and assist 3D design. Over the 10 weeks students
explores the tasks that artists complete on a daily basis, will become practiced in the flexibility and power of Adobe
including visual story development, designing, use of Photoshop as it relates to a digital production workflow.
software, modeling and texturing, lighting, animation, and
visual effects. Students are expected to cover the costs of
field trip parking and travel, estimated to be between $20 to
$30.

Previsualization and Animatics Social Science
Visualize complex 3D scenes for production Explore the sociological relationships between creativity
and culture
This course examines the digital previsualization processes
in modern filmmaking which supplements traditional In this course, students will utilize scientific principles as
storyboarding techniques. Through demonstrations and well as sociological exploration to gain an understanding of
exercises, students learn to utilize animation and modeling the interrelationships between science, creativity, and the
to stage and art direct complex sequences before they are contextualization of cultural and social factors as vital to
shot on film. Lectures focus on lighting, camera placement, understanding systems and their impact on society.
movement, editing, and storytelling. Students will create
a series of homework assignments and a final project for Storyboarding
review and critique. Learn the basics of film grammar for storyboarding
Props and Weapons for Games This course introduces the fundamental cinematic and
(Games Concentration specific) storytelling grammar necessary for a career in film, games,
Learn the fundamentals of prop and weapon design for or visual effects. Students will learn the technical basics
games of storyboarding to gain a more complex understanding
of the visual language of film. Through lectures, in-class
This course presents the fundamentals for creating film analysis, discussion, and exercises in and out of class,
artistically creative prop models optimized for real- students learn to translate what drives story and character
time engines. Priority is placed on gaining an in-depth into previsualization and storyboarding. The intersection
understanding of normal maps and how important of literary and visual storytelling, the technical aspects of
they are throughout the entire process, and a strong camera, and how to pitch ideas in the industry are critical
understanding of taking an asset from start to finish for to the development of midterm and final projects for
game development. Students will learn presentation skills presentation.
for delivering assets, to prepare for critiques through
homework assignments, and work towards a final class Texture and Shading 1
project. Design and map materials for modeling with Autodesk
Maya’s Hypershade
Quantitative Principles 1
Learn the fundamental applications of mathematics This course builds on the techniques learned in Introduction
to 3D with Maya. Through weekly lectures and out of class
This course covers basic mathematics and its role in assignments, students develop textures and shaders using
the technological sciences. Utilizing common traditional Autodesk Maya, Chaos Group’s VRay, and Adobe Photoshop.
mathematical methods in exercises and projects, Lectures and demonstrations cover how to use Maya’s
students explore innovative solutions to relevant technical Hypershade, image-based file textures in 2D and 3D, texture
problems. The impact computer science has had on art and painting in Adobe Photoshop, shading techniques with
technology will be discussed. VRay Materials, and basic render setups to demonstrate
how lighting affects materials. Students will be expected to
create their own final projects using custom textures and
Quantitative Principles 2
shaders built from the techniques in class.
Study advanced mathematical principles
Applying knowledge gained in Quantitative Principles 1,

this course is structured to further guide students through
the process of developing complex mathematically-
based systems in order to enhance productivity and
efficiency. Problem-solving, design strategies, scripting
customizations, and the on-going applications of advanced
concepts will support a deeper understanding of the
implications of computing.

Texture and Shading 2 Visual Communication 1
Create realistic texture maps on 3D surfaces Communicate complex design ideas via visual media
This course builds on the principles learned in Texturing In this course, students learn to recognize and effectively
and Shading 1. Through weekly lectures and out of class utilize complex and abstract forms to communicate ideas.
assignments, students learn to develop textures and Students will develop skills in expressing value, shadows,
shaders with Autodesk Maya, Allegorithmic’s Substance shading, perspective, and composition in both traditional
Painter and Bitmap 2 Material, and Chaos Group’s VRay. and digital platforms. Lectures and demonstrations support
Emphasis is placed on telling the story behind the materials in-depth homework assignments, creative projects, and a
to help drive the process of how textures illustrate various final presentation. This course is a cornerstone of learning
looks, including weathered and aged effects. The process foundational methods of communicating visual constructs.
will include a variety of 3D painting and procedural Students are expected to cover the cost of supplies,
techniques including 3D painting, projection painting, and estimated between $75 and $100.
utilization of masks and blend materials. Classes include a
mixture of weekly painting demonstrations and discussions Visual Effects for Games 1
of aging methods as well as assignment critiques and (Games Concentration specific)
industry tips. Design, create, and optimize visual effects for games
Texture and Shading 3 In this course, students will create visual effects by learning
Learn the art of texturing and shading hard surface assets the fundamental concepts of real-time particle animation
and material manipulation for implementation in a games
This course builds on the techniques learned in Texturing medium. In addition to an awareness of the language and
and Shading 2, and through weekly lectures and homework methods for proactive critiquing of real-time visual effects,
assignments, expands student learning in how to develop students will become capable of generating an assortment
high resolution textures using The Foundry’s Mari. of types of real-time effects. Classes include a mixture of
Emphasis is placed on introducing the Mari interface, weekly in-engine demonstrations and in-class critique of
general workflow, udims, layers, projection painting, and homework and projects. Students will create a series of
integrating Mari and Nuke. Students will learn how to homework assignments and a final project for review and
render the textures inside of Autodesk’s Maya with Chaos critique.
Group’s VRay. Classes include a mixture of painting
demonstrations and discussions of texturing workflows,
as well as project critiques and industry tips. Students will
create various weekly projects, working towards a polished
final project.
Texture and Shading for Games

Create physically-based materials for real-time
applications
This course immerses students in the process of creating

real-time physically based materials widely used in industry
standard game engines. Lectures, in-class demonstrations,
and exercises cover material network creation
methodologies and workflows in Unreal Engine 4. Topics
covered include utilizing masks, layers and baked maps,
blending environment materials, and working with decals.
Students will learn efficient material creation techniques
through homework assignments and the creation of a
critiqued final class project.

APPENDIX 2:
COURSE DESCRIPTIONS
CERTIFICATE STUDIES
Artwork by Maria Carriedo

Acting for Animators Anatomy for Artists
Simulate realistic movement and emotion in animation Explore the foundations of human anatomy through
structural analysis
This course explores the importance of acting and gesture
to create emotion and characterization in 3D animation. In this course, students learn the foundations of anatomy
Students will study acting techniques that are relevant to through illustrating the structure of the human body.
animation, learn posing and timing methods, and gain the Understanding the functionalities of the musculoskeletal
ability to approach animation using acting as a reference system, proportion, dynamic form, and how light and shadow
tool. Through the study of film, in-class presentations, and affect the body are critical elements of this course. Classes
acting exercises, students learn to convey nuanced yet include lectures, drawing demonstrations, and drawing
purposeful emotions through facial expressions, gestures, exercises with live models. Academy-style master copies
and movement. Students will develop their own ideas into and skeletal studies based on in-class work comprise the
an animated project based on their research throughout the homework assignments. Students are expected to cover the
term. Students are expected to cover the cost of supplies, cost of supplies, estimated between $50 to $80.
estimated to be between $0 and $15.
Anatomy of Games
Advanced Compositing Explore the principles of successful game creation
Evaluate the best approach to a shot using The Foundry’s
NUKE This course explores the history and principles behind some
of the most successful games ever produced. By delving
This course builds on the principles learned in Art of into early games like dice and board games and then tracing
Compositing. Through lectures, demonstrations, and out the leap into electronic and video games, students learn the
of class assignments, students learn to develop advanced roles that gameplay, art, and design each play in the creation
compositing techniques inside of The Foundry’s Nuke. of a game. Lectures, weekly assignments and group projects
Compositing techniques such as tracking removal, core round out the course experience. Students are expected to
matting, keying challenges, exr multi pass compositing, cover the costs of field trip parking and travel, estimated to
2D depth of field and motion blur, 3D projections, matte be between $0 to $10.
painting integration, and 3D relighting will be covered.
Students will explore various styles of compositing, Animal Drawing
learning to accelerate their workflow in a professional Learn animal anatomy, biomechanics, and dynamic form
manner, through complex projects for critique.
In this course, students learn the foundations of animal
Advanced Digital Sculpting anatomy. Students will be exposed to live animals in a variety
Use advanced techniques in Pixologic’s Zbrush to create of settings, learning the basic musculoskeletal anatomy of
3D printable models quadrupeds, illustration techniques, and dynamic form and
gesture. Lectures cover biomechanics, methodologies of
This course focuses on using advanced hard surface gesture, the biology of creature design, and the specifics of
sculpting techniques in Pixologic’s ZBrush to create models equine gaiting, behavior, and communication. Students will
for film, games, and 3D printing. Concepts focusing on form, create a creature for a final project and present it for critique.
design, and articulation will be combined with lectures Students are expected to cover the costs of admissions,
on workflow techniques and troubleshooting. The robust parking, and supplies, estimated to be between $50 to $80.
tool set of ZBrush - including but not limited to ZModeler,
Dynamesh, ZRemesher, Panel Loops, Sculptris Pro and
3D Widget Deformers like Project Primitive - will be shown
to empower students to create high-quality hard surface
models quickly. Students will apply distinctive features and
options within the software towards a finalized, detailed,
ready-to-print or rendered hard surface model.

Animation and Visual Effects 1 Art of Compositing
Discover how to achieve high-quality digital effects Develop essential introductory techniques to compositing
using The Foundry’s Nuke
This course exposes students to the methods used to
achieve high-quality visual effects animation. Tools are This course builds on the principles learned in Introduction
learned in context with how they are used in a professional to Compositing. Through weekly lectures, in-class practice,
production environment, and problem-solving is critical to and out of class assignments, students learn compositing
coursework. This course focuses on Maya’s core tool set techniques using The Foundry’s Nuke. Emphasis is placed on
for producing motion keyframing, procedural modeling the user interface, node-based workflows, color correction,
and animation, dynamics, and sound synchronization. rotoscoping, color management, painting, tracking, color
Weekly exercises will help cement this important tool set keying, matting, and 3D workflows. Classes include
into students’ workflows in preparation for working within compositing demonstrations, discussions of node-based
different production pipelines. methods, project critiques, and industry tips. Students will
explore various styles of compositing utilizing Nuke, working
towards a final project for presentation.
Animation and Visual Effects 2
Learn to use advanced tools to create production quality
animation and digital effects Career Realities
Navigate a career in digital production
In this course, students combine skills gained in Animation
and Visual Effects 1 with newly introduced concepts to This course explores the realities of a career in the digital
create complex exercises. Advanced assignments in production industry, including working in visual effects, film,
animation, lighting, rendering, simulation, camerawork, animation, and game development. Students will focus on
and the creation of animatics will broaden students’ the importance of career professionalism through designing
comprehension of the art of animation. The class covers a brand identity. Lectures and exercises cover navigating
concepts related to the visual, spatial, sound, motion, industry jobs, goal-setting, workplace behavior, and self-
interactive, and temporal elements and features of digital marketing. Emphasis is placed on developing presentation
technology for their use in the creation and application of skills and strategies suitable for gaining employment.
digital media-based work. Digital cinematography will be
addressed in lectures to help students achieve compelling Character Animation 1
compositions and camera animations. Students will gain Learn the fundamentals of animation with Autodesk Maya
exposure to the MASH motion graphics tool as well as
multiple dynamic simulation tools including particles, This course introduces students to 3D character animation
fluids, and cloth FXs in this course. using Autodesk Maya. The twelve principles of animation
will be used to help students develop strong 3D character
Animation for Games animation skills in Maya, while gaining exposure to
Learn Advanced body mechanics for game design animation rigs and powerful tools like the Graph Editor.
Assignments such as executing a bouncing ball, walk and
This course covers the processes and practices of creating jump cycles, and an introduction to rigging will be taught.
character animation for games projects. Lectures provide Production workflows and techniques are learned through
a solid understanding of the role of animation in game lectures, demonstrations, and weekly homework exercises.
development, as well as animation states, transitions and Students will cement core animation skills which build in
cycles, and their roles in animation production and game complexity over the course of the class, culminating in a final
design. The technical and artistic processes of game project for critique and review.
animation, while adhering to requirements and limitations
needed for implementation in a game engine, are critical
elements of this course. Students will create a series
of homework assignments and produce a game-ready
animation set for review and critique.

Character Animation 2 Character Creation for Games
Translate body mechanics into 3D animation Optimize artistic approaches to deformable character
creation
This course covers the processes and techniques used to
create believable and appealing bipedal body mechanics This course builds on the fundamentals learned in Character
in animation. The exploration of topics such as walking, Modeling and Sculpting and through weekly lectures, in-class
running, jumping, throwing, and heavy lifting will be utilized practice, and out of class assignments, introduces students
to create physically accurate motion for bipedal characters. to workflows specific to creating real-time character models
Through in-class lectures, demos, and homework exercises, for games. The course covers topics including creation of
students will develop a better understanding of the hair cards and realistic cloth, working with hard surface
subtleties of believable character animation and continue elements, and building clean and efficient low poly meshes.
to refine efficient Autodesk Maya production animation Classes include a mixture of weekly sculpting and modeling
workflows. Through the term, weekly exercises in walk and demonstrations, discussions of texturing methods, and
run cycles, crafting fluid animated movement, and timing in-class exercises. Students will learn character techniques
and spacing will build upon each other, culminating in the through homework assignments which build towards a final
creation of a complex action driven character animation class project.
mini reel in Maya.
Character Design
Character Animation 3 Learn the fundamental aspects of character design
Apply emotion and performance to character animation
This course teaches the process of character design in the
This course is an advanced exploration of the acting and entertainment industry. Students create characters from
performance aspects of character animation in Autodesk start to finish, going through the pre-production stages of
Maya. Building upon the mechanical and technical research, concept, and the craft of editing before a final
concepts covered in the previous two animation courses, presentation of a well-developed character. Thumbnailing,
students will be introduced to methods for adding appeal, silhouette design, figure invention and posing, prop and
purpose, and emotion to their characters. Methods of costume design, character archetypes, storytelling,
time management and planning will be taught so students and illustration techniques will be discussed. At-home
can work towards achieving polished pieces. Through in- assignments developing characters with industry-standard
class lectures, demonstrations, and homework exercises, methods round out this course. Students are expected to
students will develop a better understanding of the cover the cost of supplies, estimated to be between $0 to
subtleties of performance-driven animation and how to $15.
invoke a response in the audience. Students will produce
several polished performance-centric animated scenes, Character Development
using body language and facial expression, throughout Explore advanced character development and design
the course for ongoing group review, culminating in a final
presentation for critique. This course advances students’ skills in character design
through the study of storytelling, research, and development.
Character Animation 4 Students apply design methodologies learned in Character
Develop complex facial animation techniques Design and Visual Structure to characters, costumes, props,
and world-building. In-class lectures and in-depth analyses
This course provides students with an in-depth look at the of film and theatre expand student understanding of how
process of creating strong, appealing facial animations and characters express meaning in story. The development,
lip-sync techniques. Students learn to create emotionally design, and refinement of a character over the term is the
convincing performances through expression and dialogue. goal of this course.
Through in-class lectures, demonstrations, and at-home
exercises, students develop a better understanding of the
subtleties of professional, emotive facial animation.

Character Modeling and Sculpting Character Sculpture 1
Use classical techniques to create bipedal production Sculpt a character using traditional methods
models
This course teaches students to design characters in 3D.
This course teaches students to build balanced bipedal Understanding the methods of traditional sculpting is an
characters, merging the traditional art of sculpting with integral part of learning the foundations of 3D design.
digital modeling techniques. Autodesk Maya, in conjunction Beginning with character design fundamentals, students
with Pixologic’s ZBrush, is used to create appealing and learn armature construction, dynamic and neutral posing,
functional characters in 3D. Students will focus on the and then concentrate heavily on primary and secondary
technical processes needed to create detailed production forms, texturing and detailing their pieces. Lectures and
models. Lectures and demonstrations cover the use of demonstrations support and inform the overall process
anatomy as it pertains to modeling bipeds, clothing, and of completing a sculpture to a polished, professional
accessories, as well as the technical needs for creating finish. Students are expected to cover the cost of supplies,
high quality deformable characters for animation. Over the estimated between $175 to $210.
term students will complete a fully modeled and sculpted
character with animation-ready topology for critique. Character Sculpture 2
Sculpt form and anatomy using traditional methods
Character Rigging For Production
Explore the complex challenges in rigging for production This course builds on techniques learned in Character
Sculpture 1, focusing heavily on the figurative fundamentals
This course builds on the principles learned in Character essential to successfully creating realistic characters.
Rigging Fundamentals, and through weekly lectures, Students gain further skills in anatomical rendering in 3D
in-class practice, and out of class assignments, expands through the execution of academy-style scale models of the
student learning in creating deformation on a biped head and torso. Each class of the course provides theoretical
character rig in Autodesk Maya. Emphasis is placed on lectures and in-depth practical demonstrations by the
deformation techniques, including skin clusters, painting instructor. The classroom is workshop-oriented and students
skin weights, corrective blendshapes, facial rigs using follow along with the instructor through the sculpting
blendshapes, cloth setups, the basics of muscles, and process to expand their sculpting capabilities. Students are
quadruped rigs. Classes include rigging demonstrations, expected to cover the cost of supplies, estimated between
discussions of production workflows, and project critiques. $100 to $150.
Students will explore various styles of rigging through
homework assignments and work towards a final project. Character Sculpture 3
Sculpt a large-scale character bust using traditional
Character Rigging Fundamentals methods
Learn the foundations of character rigging in Autodesk
Maya In this course, students create a life-sized character
or creature bust. The processes of researching ideas,
This course builds on the principles learned in Introduction developing a character’s backstory, character ideation,
to 3D with Maya, and through lectures, in-class practice, roughing out a quarter-scale maquette, and finally sculpting
and out of class assignments, expands student learning in a life-size version will be taught. Students also share and
developing character animation rigs inside of Autodesk’s critique each other’s concepts in an open class forum for
Maya. Emphasis is placed on understanding how to create the betterment of their projects. This is a traditional portfolio
joints, attributes, constraints, basic skinning, inverse and building class. Students are expected to cover the cost of
forward kinematics controls, and ik spline, while building supplies, estimated between $100 to $150.
a basic biped rig. Classes include a mixture of rigging
demonstrations and discussions of the role of a rigger in
production, as well as setup critiques and industry tips.
Students will explore various styles of rigging through
weekly assignments and work towards creating a biped rig
in Maya.

Color Theory and Light Creature Animation 2
Explore the fundamentals of color theory Adapt complex mechanics to creature animation
This course explores the practical 2D applications In this course students focus on creating quality animations
of the fundamentals of light and color. Lectures and of fantasy creatures. A technical understanding of anatomy
demonstrations cover topics such as bounced light, camera and locomotion contribute to developing professional
effects, value patterns, shadows, and atmospherics. Value performances in creatures. Students learn to analyze the
scale and color wheel exercises, and at-home assignments motivations, limitations, and characterized behaviors of a
in traditional media reinforce learned successful fantastical creature. Emphasis is placed on conceiving and
applications of color harmonies and atmospheric animating a final scene featuring two contrasting characters
principles. Gaining experience in the foundation of color interacting with one another. Students are expected to cover
provides students with the ability to expand on existing the cost of supplies, estimated to be between $0 to $15.
visual techniques. Students are expected to cover the cost
of supplies, estimated between $80 to $120. Creature Design
Learn the creation of creatures through traditional and
Costumed Figure Drawing digital methods
Apply foundational figure drawing techniques to
costumed characters In this course, students learn the processes used to develop
fantasy creatures. Students will research and develop
This course explores drawing fully-realized characters creature designs from idealization to completion. Anatomy,
in costume. Students will learn to analyze figures with form, storytelling, and character development aid in creating
a special emphasis on understanding the anatomical believable and appealing designs. In-class demonstrations
form beneath the costume. The course provides a strong and lectures on the applications of biology to design are
foundation in figure construction, utilizing light and used to establish an understanding of how to illustrate
shadow, and the mechanics of drapery. Exercises are complex creatures. Discussions of industry experts fosters
designed to explore storytelling, composition, caricature, inspiration for students’ own methodologies. Students are
and characterization, with at-home assignments revolving expected to cover the cost of supplies, estimated to be
around master copies and costume research from various between $0 to $20.
cultures. Students are expected to cover the cost of
supplies, estimated to be between $30 to $35. Creature Modeling and Sculpting
Learn to create believable 3D creatures
Creature Animation 1
Adapt traditional mechanics to animal animation In this course, students learn to create complex and
believable 3D creatures in Pixologic’s ZBrush. Classes will
This course expands on the skills learned in previous focus on design, research, and creating appealing forms
character animation course but shifts the focus to as they relate to inventing creatures for the entertainment
animating believable real-world creatures in Autodesk industry. Real-world demonstrations, lectures, and critiques
Maya. Students develop a better understanding of center on resolving pipeline and design issues that may
quadrupedal and winged animal anatomy and behavior occur during the creation process. Students will design,
as the foundation of creature animation. Through sculpt, and render high quality 3D creatures using Pixologic’s
detailed analyses of reference footage, aided by in-class ZBrush throughout the term, culminating in a posed,
demonstrations and lectures, students will produce high-quality creature concept model created from their
creature animation locomotion cycles. This course also imagination.
introduces technical methods to students to optimize work
flow in professional production environments. Multi-week
projects will increase in complexity throughout the term,
culminating in the completion of several believable creature
animations demonstrating walking, running, and flying, to
be presented for critique. Students are expected to cover
the cost of supplies, estimated to be between $15 - $30.

Demo Reel: Animation Demo Reel: Visual Effects Animation
Create a professional-quality demo reel Create a professional-quality demo reel
This course is a portfolio development class structured This course is a portfolio development class structured
so students can create polished, professional-quality so students can create polished, professional-quality
deliverables. Students work with their instructor to develop deliverables. Students work with their instructor to develop
multiple completed portfolio pieces throughout the term. multiple completed portfolio pieces throughout the term.
One-on-one feedback and critique stimulates professional One-on-one feedback and critique stimulates professional
growth and provide a real understanding of what is needed growth and provide a real understanding of what is needed to
to create projects for production in the entertainment create projects for production in the entertainment industry.
industry.
Digital Matte Painting
Demo Reel: Games Create complex matte paintings in 2D and 3D
This course builds on the principles learned in Digital
This course is a portfolio development class structured Painting. Students will learn the art of digital matte painting
so students can create polished, professional-quality using Adobe Photoshop and The Foundry’s Nuke. Emphasis
deliverables. Students work with their instructor to develop is placed on photo manipulation, lighting, atmosphere,
multiple completed portfolio pieces throughout the term. compositions, color matching, layer setups, 3D render
One-on-one feedback and critique stimulates professional paintovers, 2.5D projections, set extensions, and plate
growth and provide a real understanding of what is needed cleanup. Classes include a mixture of demonstrations, group
to create projects for production in the entertainment discussions of production workflows, and in-class exercises,
industry. as well as portfolio critiques and industry tips. Students will
explore various styles of matte painting and work towards
polished final projects.
Demo Reel: Generalist
Digital Painting
This course is a portfolio development class structured Learn the basics of painting in Adobe Photoshop
so students can create polished, professional-quality
deliverables. Students work with their instructor to develop In this course, students learn to translate traditional painting
multiple completed portfolio pieces throughout the term. and drawing skills into the digital medium of painting
One-on-one feedback and critique stimulates professional in Adobe Photoshop. Fundamental concepts such as
growth and provide a real understanding of what is needed perspective, value, and color are reinforced as students gain
to create projects for production in the entertainment experience with using painting tools in digital art production.
industry. Through lectures, demonstrations, and in-class exercises,
students apply fundamental concepts of light, composition
Demo Reel: Modeling and Texturing and material definition to their assignments and a final
project.
This course is a portfolio development class structured Digital Painting 2

so students can create polished, professional-quality Create high-end concept paintings for film and games
deliverables. Students work with their instructor to develop
multiple completed portfolio pieces throughout the term. This course builds on the principles learned in Digital
One-on-one feedback and critique stimulates professional Painting, and through weekly lectures, in-class practice,
growth and provide a real understanding of what is needed and out of class assignments, expands student learning
to create projects for production in the entertainment in developing high-end concept art using various film and
industry. game, industry-aligned software. Emphasis is placed on
storytelling, painting technique, and the ability to complete
finished pieces. Classes include a mixture of weekly painting
demonstrations, discussions of cinematic concept methods,
and in-class exercises, as well as portfolio

Digital Photography Drawing Fundamentals 1
Learn the technical basics of digital photography Communicate complex design ideas via visual media
This course covers the basics of digital photography and In this course, students learn to recognize and effectively
its role in the visual effects and game industries. The utilize complex and abstract forms to communicate ideas.
fundamentals of color theory, lighting, and composition Students will develop skills in expressing value, shadows,
are central to students’ learning. The class will expand to shading, perspective, and composition in both traditional
advanced production topics including color correction, and digital platforms. Lectures and demonstrations support
color grading, accurately photographing textures for use in-depth homework assignments, creative projects, and a
in 3D, spherical panoramic photography, high-dynamic final presentation. This course is a cornerstone of learning
range imaging, working with camera raw files, and post- foundational methods of communicating visual constructs.
production workflow. Hands-on exercises, in-class lectures, Students are expected to cover the cost of supplies,
and demonstrations will help students become familiar estimated between $75 and $100.
with the photographic processes necessary for success in
the film and games industries. Students are expected to Drawing Fundamentals 2
cover the cost of supplies, estimated at $45. Apply illustration techniques to industrial design
Digital Sculpting This course is a continuation of Drawing Fundamentals

Learn the technical basics of sculpting with Pixologic’s 1. Students focus on developing advanced sketching and
ZBrush illustration techniques as applied to industrial design.
Students will use traditional methods of ideation based on
This course introduces Pixologic’s ZBrush and its role source materials to produce polished final pieces in digital
in digital sculpting, 3D art, 3D printing, and illustration. platforms. Complex homework assignments tap into the
Students learn the interface, tools, and workflows used principles of design as outlined in lectures, demonstrations,
to proficiently create digital models and sculptures using and critiques. Students are expected to cover the cost of
ZBrush and Maya. Artistic processes including creating supplies, estimated between $50 and $75.
models from the ground up, high frequency detail creation,
and texturing techniques are taught using the robust Drawing in 3D
ZBrush feature set. Tools such as the powerful sculpting Learn the traditional principles of perspective
brushes, ZSpheres, Dynamesh, and more are used to show
students how to create high quality 3D sculptures with This course teaches students how to approach a variety
confidence. Production workflows such as importing, of subjects using traditional methods of perspective.
exporting, and map generation are also covered to ensure Students will develop an understanding of managing scale,
students utilize the work created in ZBrush in other measurement, shadows, composition, and the overall
applications. mechanics of one-, two-, and three-point perspective, all
supported by in-class lectures and demonstrations. Complex
Digital Sets at-home assignments utilize these methods to illustrate
Learn advanced techniques for creating natural and relevant subjects such as spacecraft and vehicles, building
architectural environments towards the presentation of final projects. Students are
expected to cover the cost of supplies, estimated between
This course provides an examination of the techniques and $50 to $80.
strategies used to create rich and believable digital sets,
environments, and realistic assets. Topics covered include
photography, photogrammetry using Agisoft Photoscan,
manual and procedural modeling tools like SpeedTree and
World Machine, texturing, and environmental lighting. Over
the course of the term, students will learn the process of
building fantastic believable worlds in 3D using a wide
range of techniques and tools for use in multiple rendering
engines. Students are expected to cover the cost of
supplies, estimated at $45.

Dynamic Effects 1 Dynamic Effects 3
Learn the foundation of dynamics in Autodesk Maya Simulate and render fluids with Autodesk Maya.
In this course, students are introduced to a wide range of This course builds upon the principles learned in Dynamic
powerful dynamic particle simulations solutions inside Effects 1 and 2. Real-world demolition and destruction
of Autodesk Maya. Students will become familiar with effects will be taught. Students will learn fluid simulation,
how to create simple to complex visual effects like rain, shattering, and advanced particle effects techniques
dust, fire, smoke, bullets, and meteor showers. Tools like using Autodesk Maya and industry standard plugins like
nParticles, Maya Legacy Particles, and Maya Fluids will Fracture FX, Phoenix FD, and Soup, as well as how to
be taught alongside professional production workflows. render fx elements in VRay. Students will understand the
Through demonstrations, lectures, analysis of reference, process of crafting advanced destruction shots and how to
and homework rendering exercises which reinforce in-class build their own procedural tools using techniques learned
learning, students will gain techniques for understanding through lectures, demonstrations, and critiques. Homework
and exploring particle emission, emitters, and how to assignments support in-class learning through the weekly
creatively control the look and feel of the wide range of execution of effects simulations. This course is project-
Maya dynamic simulation tools. Students will create many based and will culminate in students creating a final fx shot,
different visual effects shots using a wide range of artistic complete with rendering and compositing, for review.
and technical methods, culminating in a final project that
leverages the skills and techniques learned over the course Dynamic Effects 4
of the term. Build a dynamic effects sequence with Autodesk Maya and
Houdini FX
Dynamic Effects 2
Learn to create fundamental dynamic effects This course focuses on advancing students’ knowledge of
how to complete complex production-quality visual effects
In this course, students will build upon the foundations sequences. Students will be guided through advanced
of particle simulation effects gained in Dynamic Effects production tools and techniques, utilizing multiple fluid
1. An array of associated techniques required to create solvers and advanced cloud and particle workflows in
a wide range of dynamic effects in live action plates will Houdini, Maya Fluids, and Phoenix FD. The methods for
be taught in this course. Lectures, demonstrations, and setting up dynamic and non-dynamic simulations for live
homework assignments which reflect in-class learning action and full CG production shot assets and sequences
provide students with the impetus to develop their own will be covered. Lectures, in-class demonstrations, and
artistic styles. Systems like nParticles, Soft Bodies, nCloth, homework assignments in support of midterm and final
and instance-based dynamic solutions will be taught project development will help students gain and develop a
alongside real-world production tasks to create appealing solid understanding of how to leverage multiple programs
visual effects shots which will be held to a standard of to create a cohesive effect. Students will create an entire
professional quality. Students will create and render visual effects sequence over the course of the term for final
multiple dynamic effects shots, culminating in a final review and critique. It is recommended students take an
presentation for critique and review. introductory Houdini class before taking this class.

Environment Creation for Games Game Creation 1
Learn to build interactive environments for games Gain an in-depth understanding of the process of game
creation
This course presents students with the techniques
currently used in game production to create complex real- This course is designed to give students an introductory
time environments. Course lecture topics cover building understanding of working with game content in the Unreal
modular assets on a grid, sculpting tiled textures, and set Engine 4 toolset. Through lectures and demonstrations,
dressing. Proficiencies highlighted in the class include students will grasp the Unreal Engine 4 import pipeline,
scene composition and efficiency, modeling and sculpting, set up an interactive asset, build a short cinematic, and
baking and transferring maps, creating textures and create simple material networks. Classes include a mixture
materials, and level assembly. Students will progressively of weekly in-engine demonstrations, discussions of asset
learn skills through homework assignments which build creation methods, and in-class critique of homework and
towards developing a lit and color graded final portfolio projects. Students will learn basic game production pipeline
piece for presentation and critique. through homework assignments and work towards a final
class project for review.
Environment Design
Design environments for film, animation, and games Game Creation 2
Create immersive real-time worlds in games
This course covers the basics of designing different types
of environments for animation, film, and games. Students This course builds on the topics and techniques presented
learn perspective, composition, and research techniques as in Game Creation 1. With an emphasis on creating real-time
they apply to environments for believable detail, clear tonal worlds, students will dig into workflows and techniques
reads, and lighting. Lectures and demonstrations stress the for creating terrains, foliage, and destructible meshes,
importance of the expressive differences between interior utilizing Unreal Engine 4’s specific tools for creating natural
and exterior environments. Through critiqued homework environments. Classes include a mixture of weekly in-engine
assignments and a final project, students will develop demonstrations, discussions of world building methods,
their own environmental illustrations with learned digital and in-class critique of homework and projects. Students
rendering techniques. will learn these environment tools through homework
assignments which build towards a final class project.
Expressions and Scripting
Study advanced scripting techniques in Autodesk Maya Game Creation 3
Explore the technical side of real-time game creation
This course builds on the principles learned in Introduction
to 3D with Maya. Students will gain experience in basic This course builds on the basics learned in Game Creation
scripting inside of Autodesk Maya using Mel and Python. 1 and delves into Unreal Engine 4’s toolset for incorporating
Emphasis is placed on the core concepts of scripting animation into real-time projects. Students will learn
and understanding how Maya functions under the user the character asset production pipeline, beginning with
interface. The fundamentals of scripting will be taught, rigging and animation in Maya and building to export and
including creating shelf buttons, syntax, object types, implementation in Unreal Engine 4. Classes include a mixture
arguments, conditional statements, loops, and design of weekly in-engine demonstrations and in-class critique
patterns. Classes include a mixture of weekly scripting of homework and projects. Students will create a series of
demonstrations, lectures and discussions of production homework assignments and a final project for review and
workflows, and in-class exercises. Students will explore critique.
various styles of scripting through homework assignments
and work towards a functional final project.

Explore the technical production techniques necessary for Learn the fundamentals of creating 3D models
game creation
This course expands on techniques from the previous 3D models with polygon geometry. Lectures delve into the
Game Creation courses and explores intermediate and various production techniques of asset creation through
advanced techniques in visual scripting through Unreal the exploration of polygonal modeling and the preparation
Engine 4’s Blueprint system. Classes are split between of constructed models for texturing. The basic toolset in
lectures on the logical underpinning of scripting techniques, Autodesk Maya will be covered, and students will benefit
live demonstrations of those techniques, and guided from lectures about the technical and aesthetic issues that
hands-on lab work where students can put their learning professional modelers face while modeling environments
to practical use. Students will learn Blueprint scripting and man-made objects. Students will create weekly models
concepts to create mechanics and interactions through throughout the term and the class will culminate in a final
their homework assignments, which build towards a final project consisting of building an intermediate to complex
class project. model like a vehicle, robot, or prop.
Game Design Hard Surface Modeling 2

Define game design through exploration of fundamental Learn advanced hard surface modeling techniques
This course teaches students to model complex assets such
This course focuses on the fundamental ideas and as vehicles, robots, and weapons. Lectures focus on the
techniques that define compelling game design. Exercises, use of polygonal modeling tools in the development of form
lectures, and demonstrations will instruct students in and detail, as well as production-specific issues pertaining
how to build the foundations of a vertical slice game to poly count, surface quality, and topology. Over the term,
project, including a treatment of mechanics, gameplay, students become familiar with the techniques used to
and storytelling. Students will explore the creation of a create high-quality hard surface models efficiently. Classes
game design document, playtest a paper prototype of their cover different modeling techniques from box modeling
creation, and conceptualize controls for their game idea. to sculpting and resurfacing. Students will complete two
Weekly assignments that tie into corresponding lectures production quality models over the course of the term.
will instruct students in how to create a final project.
HD Digital Filmmaking for VFX
Gesture Drawing Learn the essentials of digital camerawork for CG projects
Develop skills in gesture drawing from a live model
This course builds on the principles learned in Animation and
This course is a complement to Life Drawing, focusing Visual Effects, and through weekly lectures and out of class
on the expression of gesture in the human form. In- assignments, expands student learning in the essentials for
class drawing sessions use live models, both nude and integrating digital camera work into CG projects. Lectures
costumed, in a variety of character and story-driven poses. include the technical aspects of the DV format, equipment
Students will learn critical elements of dynamic drawing, choices and usage, terminology, and staging and lighting
such as pose analysis, silhouette development, proportion, techniques. Students learn the essentials of DV camera
balance, and critical thinking in terms of storytelling and operation and the technical side of video formats. The output
design. By drawing quickly and spontaneously, students methodology for different applications is discussed so that
learn to be more creative, inventive, and versatile as visual students can take their DV footage and integrate it into their
artists. Students are expected to cover the cost of supplies, final CG projects. Compositing integration includes chroma
estimated between $30 to $60. keying and color matching in Nuke, post color grading in
Premiere, and Speed Grade. Classes include a mixture of
camera and software demonstrations and in-class exercises,
explore various styles of shooting digital video footage
through homework assignments and work towards a
polished final project.

History and Principles of Animation Houdini 3
Survey the historical techniques of animation Explore various effects, tools, and techniques in SideFX
Houdini
This course introduces students to the history and
techniques of animation. Lectures and demonstrations use This course builds on the principles learned in Houdini 2,
the Twelve Principles of Animation as a springboard into and through weekly lectures, in-class practice, and out of
deconstructing the visuals of both animated and live-action class assignments, expands student learning in developing
films. Students learn to address issues such as planning a high-end effects animation in SideFX’s Houdini. Emphasis
scene, thumbnailing, understanding traditional animation is placed on VEX Scripting, Point Clouds, Shading, timing
techniques, and to improve their draftsmanship. Executing control, and interactive illumination to create a lightning bolt
basic animation tests, sketchbook development, and setup. Learn to build a custom growth solver with vector
working towards completing an animated walk cycle are math, fuzzy logic, chaos theory, and VEXpressions. Students
critical elements to this course. Students are expected to will learn the creation of destruction with fracture patterns,
cover the cost of supplies, estimated between $15 to $20. vdb fracturing, boolean fracturing, and packed primitives,
as well as Liquid Explosion with Flip fluids, pyro, vector
math, microsolves, pyro shader, and interactive illumination.
Houdini 1
Classes include procedural simulations demonstrations
Learn the technical basics of SideFX Houdini
and discussions of production workflows, as well as project
This course builds on the fundamental concepts of 3D by critiques and industry tips. Students will explore various
developing procedural content creation inside of SideFX’s styles of effects workflows through homework assignments
Houdini. Emphasis is placed on creating 3D scenes and work towards completing several individual projects.
utilizing a procedural node based network, including
animation, scattering, vegetation, terrain, and oceans, Houdini 4
all rendered inside Houdini. Classes include a mixture Learn advanced Houdini production techniques
of weekly demonstrations and discussions, as well as
project critiques and industry tips. Students will explore This course builds on the principles learned in Houdini
various styles of procedural networks through homework 3, expanding student learning in developing high-end
assignments, working towards a polished final project workflows inside of SideFX’s Houdini. Students will
created using Houdini. develop the skills needed to set up and organize an fx-
driven production shot through procedural workflows for
a sequence-based environment. They will also learn to
Houdini 2
create micro tools to assist in streamlining workflows.
Use SideFX Houdini to create complex visual effects
Learn to implement fx setups that are stable and procedural
animation
so that setups can work on different incoming geometry.
This course builds on the principles learned in Houdini 1. The classroom environment will support and implement
Through lectures and homework assignments, students constructive criticism on in-class exercises, as well as
learn to develop introductory simulations using SideFX’s provide project critiques and industry tips. Students will
Houdini. Emphasis is placed on Houdini’s dynamics tool explore various styles of procedural effects methods through
kit, including particles, volume-based fluids, flip fluids, homework assignments and work towards taking an fx shot
and pyro effects. Classes include a mixture of weekly from idea to final comp.
dynamic simulations demonstrations and discussions of
the procedural methods used, as well as project critiques
and industry tips. Students will explore various styles of
painting, building individual final projects.

Improvisational Acting Introduction to Compositing
Learn the process of improv as it applies to character Use layering to create composited imagery in After Effects
animation
This class introduces students to the basics of compositing.
In this course, students learn traditional improvisational Through weekly lectures, in-class exercises, and homework
acting techniques. Class sessions focus on the processes assignments, students will learn the fundamental concepts
animators use to organically develop a character around of compositing inside of Adobe’s After Effects. Emphasis
a set of circumstances. Students will develop problem- is placed on the user interface, compositions, keyframing,
solving skills through teamwork exercises and by creating layers, footage, color keying, 3D layers, and a variety of tools
compelling scenes. Through improvisational games, as well utilized in compositing workflows. Classes include After
as extracurricular theatrical experiences, students learn a Effects demonstrations and discussions of compositing
valuable acting method which expands individual creativity methods, as well as project critiques and industry tips.
and character development. Students will explore various styles of compositing through
their assignments, working towards a final project for
presentation.
Interview and Resume Workshop
Prepare for a job in the visual effects industry
Level Design
This course is designed to help students successfully Explore the process of 2D and 3D level design for games
produce professional job marketing campaigns. Students
will learn personal identity branding, to create a vision This course illustrates and exemplifies the role of a level
for an approach to getting employed, and to prepare for designer on a game project as they carry out the task of
interviewing. Lectures focus on crafting a professional defining and generating a playable space. Through weekly
presence for job-hunting, directed towards companies lectures, in-class practice, and homework assignments,
specializing in computer graphics for film, games, and students will examine the process of greyboxing and
visual effects. Weekly projects and a final presentation level layout, become familiar with the concepts of pathing
provide opportunities for students to develop their own and reveals, and recognize the importance of the use of
branding. Students are expected to cover the costs of modularity and elevation. Classes include a mixture of
supplies, estimated between $5 to $100. weekly in-engine demonstrations and in-class critique of
Introduction to 3D with Maya
critique.
Learn the technical basics of Autodesk Maya
This course focuses on the foundation of 3D computer Life Drawing 1

graphics using Autodesk Maya. Students are introduced to Develop skills in foundational figure drawing
the Maya interface and philosophy, as well as 3D modeling,
texturing, lighting, rendering, and animation. Lectures In this course, students learn to draw the human figure,
cover the applications of these tools in the film and game utilizing both traditional and non-traditional principles and
industries. This course will prepare students to face both techniques. Styled after a foundation art school figure
artistic and technical challenges when creating accurate drawing course, the principles of form and gesture are
and compelling 3D images, helping to build a foundational applied to in-class live model sketching and homework
understanding of both technical workflows and art and figurative studies. Communicating gesture, creating accurate
design aesthetics. Students will work on multiple projects anatomy and proportion, and developing a body of figurative
throughout the course for critique that will help establish portfolio work are inherent to this course, supported by in-
a solid 3D skill set in both realistic and conceptual 3D class demonstrations and lectures. Students are expected to
computer generated art. cover the cost of supplies, estimated between $50 to $80.

Lighting and Rendering 1 Lighting and Rendering 3
Learn the basics of lighting in Autodesk Maya and V-Ray Study alternative solutions for industry standard rendering
softwares and techniques
This course builds on the principles learned in
Introduction to 3D in Maya. Students will learn to create This course builds on the principles learned in Lighting and
artistic and cinematic lighting setups with Autodesk’s Rendering 2. Students will learn to create renders utilizing
Maya and Chaos Group’s VRay. Instruction covers Solid Angle’s Arnold and Redshift inside of Autodesk’s
creating renders that enhance visual storytelling through Maya. Emphasis is placed on experiencing a shot-based
lighting, techniques to light characters, products, exterior production environment, learning the fundamentals of
and interior environments, and lighting for live action unbiased rendering with Arnold, and biased gpu rendering
footage. Classes include a mixture of weekly lighting with Redshift. An in-depth look of both renderers’ materials,
demonstrations, discussions of cinematic approaches lights, object properties, and render settings will be taught.
using industry standard methods, project critiques, and Classes include a mixture of weekly technical
industry tips. Students will explore various styles of demonstrations, discussions of production workflows,
lighting through homework assignments and work project critiques, and industry tips. Students will explore
towards completing a polished final project for review. various styles of shot production workflows, working
towards a polished final shot sequence.
Study the technical aspects of lighting in Autodesk Maya Lighting and Rendering 4
and V-Ray Create high quality images using production rendering
techniques
This course builds on the principles learned in Lighting
and Rendering 1. Through weekly lectures and This course builds on the principles learned in Lighting and
demonstrations, students gain experience in the technical Rendering 3, and through weekly lectures, in-class practice,
side of lighting and rendering inside of Autodesk’s Maya, and homework assignments, expands student learning in
Chaos Group’s VRay, and The Foundry’s Nuke. Emphasis developing production rendering techniques in Autodesk’s
is placed on image sampling, quality versus speed in the Maya, Chaos Group’s VRay, and The Foundry’s Nuke.
render, GI sampling, frame sequences, handling artifacts, Emphasis is placed on production workflows and
baking GI, multi pass rendering and assembly in Nuke, integrating more control between Maya and Nuke, blurring
motion blur, depth of field, atmospheric fog, caustics, and the lines between what control is possible between the 3D
3D integration into live action in Nuke. Classes will cover and 2D software. Methods are taught through VRay Render
technical rendering demonstrations, discussions of Elements, including compositing raw elements the right
production problems, project critiques, and industry tips. way, handling antialiasing of renders, deep compositing,
Students will explore various methods of troubleshooting and 2.5D relighting with Normals and World position.
3D renders through homework assignments and work Classes include a mixture of lighting and rendering
towards a polished final project. demonstrations and in-class exercises, as well as project
critiques and industry tips. Students will explore various
styles of production workflows through complex
assignments and work towards a polished final project.
Liquid Simulations
Create production liquid simulation solutions for visual
effects
This course focuses on intermediate to advanced

approaches to creating production-quality liquid
simulations. Tools like Flip simulations in Houdini, Bifrost,
and Phoenix FD in Maya will be the focus of the class.
Students will begin with the fundamentals of how these
solvers work and progress to designing and creating high
quality production shots.

Look Development Maya Modules
Delve into the technical challenges of creating surfaces Learn advanced specialized toolsets in Autodesk Maya
for look development
This course is an advanced 3D animation and design
This course builds on the principles learned in multiple course where students will explore lesser known and
intermediate courses, such as Lighting and Rendering and specialized systems inside and out of Autodesk Maya.
Texturing and Shading. Students will learn the tools and Topics covered in lectures and demonstrations will
techniques necessary for look development with include dynamics, fur, hair, cloth, arbitrary primitive
Autodesk’s Maya, Chaos Group’s VRay, and The Foundry’s generation, and procedural asset creation. Tools like
Nuke and Mari. In-class lectures cover developing the look XGen, nCloth, and Paint Effects will be used to showcase
of and polishing 3D renders in different areas of the the depth and power available to artists in Maya. Students
production environment, including characters and will also learn to build clothing in Marvelous Designer for
environments. Topics include subsurface scattering for use in a Maya animation and rendering pipeline. Weekly
characters, translucent materials, human eyes, vegetation, assignments will guide students through these complex
and terrains, as well as the utilization of multi mattes to processes of creating character FX and simulations,
polish 3D renders. Student learning will benefit from allowing these powerful tools to bring future projects to
demonstrations of creating atmosphere and mixing live life.
action elements with cg effects. Homework assignments
and a polished final project for critique and review round Motion Capture with MotionBuilder
out this advanced course. Learn the motion capture production pipeline
Matchmoving and Integration This course covers the motion capture production pipeline
Use camera tracking to integrate 3D scenes into a live for film and games. In addition to learning the basics of
action plate motion capture, students will gain experience in setting up
an optical system, capturing data, and applying the data to a
This course builds on the principles learned in HD Digital character. Topics covered include character preparation, post
Filmmaking for VFX, and will expand student learning in capture data processing, and clean up. The class covers how
camera tracking fundamentals and integration using The to edit motion clips together, create a cycle, and animate on
Pixel Farm’s PFTrack and The Foundry’s Nuke. Emphasis is top of the motion capture data. Students will create a series
placed on match moving fundamentals, hand tracking and of homework assignments and a final project for review and
masking, distortion workflow, zoom shot, object tracking, critique.
color grading, and finishing. Classes include a mixture of
weekly tracking demonstrations, discussions of production Overview of Digital Production
workflows, and complex exercises, as well as portfolio Survey the processes of production in film, broadcast, and
critiques and industry tips. Students will explore various games
styles of tracking through homework assignments and
work toward polished conceptual projects. This course provides students with a thorough
understanding of the processes involved in the production
of content for film, games, and visual effects. Students
learn the different types of facilities that produce VFX
media and how their pipelines may differ. This course also
explores the tasks that artists complete on a daily basis,
including visual story development, designing, use of
software, modeling and texturing, lighting, animation, and
visual effects. Students are expected to cover the costs of
field trip parking and travel, estimated to be between $20
to $30.

Photoshop for Digital Production Props and Weapons for Games
Build an understanding of the principles of Adobe Learn the fundamentals of prop and weapon design for
Photoshop games
This course provides students with a working foundation This course presents the fundamentals for creating
of the interface and tools of Adobe Photoshop. Through artistically creative prop models optimized for real-time
lectures, demonstrations, and exercises, students learn engines. Priority is placed on gaining an in-depth
tools for photographic retouching, color treatment, use of understanding of normal maps and how important they
layers and selections, photographic manipulation, and are throughout the entire process, and a strong
compositing. Students will gain the ability to create and understanding of taking an asset from start to finish for
utilize advanced photo manipulation and image editing game development. Students will learn presentation skills
techniques to create 2D images and assist 3D design. for delivering assets, to prepare for critiques through
Over the 10 weeks students will become practiced in the homework assignments, and work towards a final class
flexibility and power of Adobe Photoshop as it relates to a project.
digital production workflow.
Scripting for Production
Portfolio and Résumé Workshop Learn to create production tools and interfaces using
Prepare for a job in the visual effects industry Python
This course is designed to help students successfully This course builds on the principles learned in
produce professional job marketing campaigns. An Expressions and Scripting. Students will explore Python
emphasis is placed on understanding and building their scripting and creating tools with user interfaces inside of
personal brands through portfolio and reel execution. Autodesk Maya. Emphasis is placed on creating
Lectures focus on crafting a professional, relevant production-ready tools with user interfaces built in PySide
presence for job-hunting, directed towards companies and Qt Designer. Lectures and exercises cover user
specializing in commercials, film, games, and visual interface design and creating an asset browser through
effects. standard application development techniques. Classes
include a mixture of weekly scripting demonstrations and
discussions of production workflows, as well as project
Previsualization and Animatics
Visualize complex 3D scenes for production
styles of creating production tools through homework
This course examines the digital previsualization processes assignments and work towards a functional final project.
in modern filmmaking which supplements traditional
storyboarding techniques. Through demonstrations and Story Development
exercises, students learn to utilize animation and modeling Experiment with techniques for story development
to stage and art direct complex sequences before they are
shot on film. Lectures focus on lighting, camera placement, This course explores the development or adaptation of a
movement, editing, and storytelling. Students will create story into an animated project. Students learn what makes
a series of homework assignments and a final project for a story engaging both visually and verbally through analysis
review and critique. and the professional development techniques required for
revision and pitching. Exercises and lecture revolve around
exploring character and story, with students creating scene
breakdowns, storyboards, and a final animatic project for
presentation created either as an individual or in a group,
based on original development.

Stylized Character Creation Texturing and Shading 3
Create stylized characters for games and animation Learn the art of texturing and shading hard surface assets
In this course, students learn to translate 2D designs into This course builds on the techniques learned in Texturing
appealing 3D characters using Pixologic’s ZBrush and and Shading 2, and through weekly lectures and
Autodesk Maya. Design principles and 3D techniques are homework assignments, expands student learning in how
utilized to build professional-quality stylized characters for to develop high resolution textures using The Foundry’s
feature animation and games pipelines. Demonstrations, Mari. Emphasis is placed on introducing the Mari
lectures, and critiques focus on the artistic and technical interface, general workflow, udims, layers, projection
concerns of the character creation pipeline. Students will painting, and integrating Mari and Nuke. Students will
learn to build, sculpt, and pose their characters, creating a learn how to render the textures inside of Autodesk’s
final clean render for critique which touches on all the Maya with Chaos Group’s VRay. Classes include a mixture
features of stylized characterization by the end of the of painting demonstrations and discussions of texturing
course. workflows, as well as project critiques and industry tips.
Students will create various weekly projects, working
towards a polished final project.
Texturing and Shading 1
Design and map materials for modeling with Autodesk
Maya’s Hypershade Texturing and Shading 4
Use advanced software to texture and shade creatures
This course builds on the techniques learned in and characters
Introduction to 3D with Maya. Through weekly lectures
and out of class assignments, students develop textures This course builds on the principles learned in Texturing
and shaders using Autodesk Maya, Chaos Group’s VRay, and Shading 3. Students will learn to develop high
and Adobe Photoshop. Lectures and demonstrations resolution textures for characters and creatures utilizing
cover how to use Maya’s Hypershade, image-based file The Foundry’s Mari and Pixologic’s ZBrush. Lectures and
textures in 2D and 3D, texture painting in Adobe demonstrations will cover a broad scope of methods,
Photoshop, shading techniques with VRay Materials, and including: texturing realistic human skin, teeth, eyes,
basic render setups to demonstrate how lighting affects shading the layers of human skin, realistic creature skin,
materials. Students will be expected to create their own crafting 3D hair and fur, creating believable cloth and
final projects using custom textures and shaders built sculpting wrinkles, final details, displacement maps, and
from the techniques in class. anatomy fixes. Students will explore various styles of
character and creature texturing and shading through
homework assignments and work towards a polished final
project.
Create realistic texture maps on 3D surfaces
This course builds on the principles learned in Texturing Texturing and Shading for Games
and Shading 1. Through weekly lectures and out of class Create physically-based materials for real-time
assignments, students learn to develop textures and applications
shaders with Autodesk Maya, Allegorithmic’s Substance
Painter and Bitmap 2 Material, and Chaos Group’s VRay. This course immerses students in the process of creating
Emphasis is placed on telling the story behind the real-time physically based materials widely used in industry
materials to help drive the process of how textures standard game engines. Lectures, in-class demonstrations,
illustrate various looks, including weathered and aged and exercises cover material network creation
effects. The process will include a variety of 3D painting methodologies and workflows in Unreal Engine 4. Topics
and procedural techniques including 3D painting, covered include utilizing masks, layers and baked maps,
projection painting, and utilization of masks and blend blending environment materials, and working with decals.
materials. Classes include a mixture of weekly painting Students will learn efficient material creation techniques
demonstrations and discussions of aging methods as well through homework assignments and the creation of a
as assignment critiques and industry tips. critiqued final class project.

Timing for Animation Visual Effects for Games 2
Apply 2D animation techniques to computer animation Learn further techniques to create visual effects for
games
This course teaches students to apply traditional 2D
animation techniques to computer animation. From the This course builds on the skills learned in Visual Effects for
bouncing ball with attitude to a fully developed character, Games 1. Students’ abilities to design, create, and optimize
students learn to create personality and character through visual effects for video games will be taken to the next level.
timing. Different methods of animating a scene on paper Assignments for the class will focus on tasks students are
and techniques for translating drawings to 3D are likely to encounter in a production scenario. Classes include
addressed through lectures, demonstrations, and a mixture of weekly in-engine demonstrations and in-class
homework projects. critique of homework and projects. Students will create
a series of homework assignments and a final project for
review and critique.
Visual Effects Design
Design visual effects for preproduction
Visual Structure
This course focuses on conceptual design in visual Develop an understanding of the methods of visual
effects shot production. Storyboarding, camera blocking, storytelling
research, and development will be taught along with
advanced tools inside Houdini. Students will This course teaches students to understand how the
learn how to seamlessly exchange data and simulations elements of structure are used to describe story and
back and forth between programs, optimize workflows, character in visual media. Using source material, students
and successfully composite and complete a shot. will develop a term-long cinematic or game project which
expresses the meaningful application of purpose-driven
storytelling. Lectures, exercises, in-class discussions, and
Visual Effects for Games 1
complex projects will explore the impact of mood, tone,
Design, create, and optimize visual effects for games
color, and design on the audience. Students will gain
In this course, students will create visual effects by learning experience in professional presentation and time
the fundamental concepts of real-time particle animation management. Students are expected to cover the cost of
and material manipulation for implementation in a games supplies, estimated to be between $0 to $10.
medium. In addition to an awareness of the language and
methods for proactive critiquing of real-time visual effects,
students will become capable of generating an assortment
of types of real-time effects. Classes include a mixture of
weekly in-engine demonstrations and in-class critique of
critique.

APPENDIX 3:
COURSE DESCRIPTIONS
AVOCATIONAL STUDIES
FOUNDATION IN ART &

DESIGN
Artwork by Danny Mak

FOUNDATION IN ART & DESIGN
Animal Drawing Color Theory and Light
Learn animal anatomy, biomechanics, and dynamic form Explore the fundamentals of color theory
In this course, students learn the foundations of animal This course explores the practical 2D applications of the
anatomy. Students will be exposed to live animals in a fundamentals of light and color. Lectures and
variety of settings, learning the basic musculoskeletal demonstrations cover topics such as bounced light,
anatomy of quadrupeds, illustration techniques, and camera effects, value patterns, shadows, and
dynamic form and gesture. Lectures cover biomechanics, atmospherics. Value scale and color wheel exercises, and
methodologies of gesture, the biology of creature at-home assignments in traditional media reinforce
design, and the specifics of equine gaiting, behavior, and learned successful applications of color harmonies and
communication. Students will create a creature for a final atmospheric principles. Gaining experience in the
project and present it for critique. Students are expected foundation of color provides students with the ability to
to cover the costs of field trips, admission, parking, and expand on existing visual techniques. Students are
supplies, estimated to be between $50 to $80. expected to cover the cost of supplies, estimated between
$80 to $120.
Character Design
Learn the fundamental aspects of character design Creature Design
This course teaches the process of character design in digital methods
the entertainment industry. Students create characters
from start to finish, going through the pre-production In this course, students learn the processes used to
stages of research, concept, and the craft of editing develop fantasy creatures. Students will research and
before a final presentation of a well-developed character. develop creature designs from idealization to completion.
Thumbnailing, silhouette design, figure invention and Anatomy, form, storytelling, and character development
posing, prop and costume design, character archetypes, aid in creating believable and appealing designs. In-class
storytelling, and illustration techniques will be discussed. demonstrations and lectures on the applications of
At-home assignments developing characters with biology to design are used to establish an understanding
industry-standard methods round out this course. of how to illustrate complex creatures. Discussions of
Students are expected to cover the cost of supplies, industry experts fosters inspiration for students’ own
estimated to be between $0 to $15. methodologies. Students are expected to cover the cost
of supplies, estimated to be between $0 to $20.
Character Sculpture 1
Sculpt a character using traditional methods Digital Painting 1
Learn the traditional principles of perspective
This course teaches students to design characters in 3D.
Understanding the methods of traditional sculpting is an In this course, students learn to translate traditional painting
integral part of learning the foundations of 3D design. and drawing skills into the digital medium of painting
Beginning with character design fundamentals, students in Adobe Photoshop. Fundamental concepts such as
learn armature construction, dynamic and neutral posing, perspective, value, and color are reinforced as students gain
and then concentrate heavily on primary and secondary experience with using painting tools in digital art production.
forms, texturing and detailing their pieces. Lectures and Through lectures, demonstrations, and in-class exercises,
demonstrations support and inform the overall process of students apply fundamental concepts of light, composition
completing a sculpture to a polished, professional finish. and material definition to their assignments and a final
Students are expected to cover the cost of supplies, project.
estimated between $175 to $210.

Digital Painting 2 Drawing Fundamentals 2
Study advanced methods of painting in Adobe Photoshop Apply illustration techniques to industrial design
for film and games
This course is a continuation of Drawing Fundamentals 1.
This course builds on the principles learned in Digital Students focus on developing advanced sketching and
Painting, and through weekly lectures, in-class practice, illustration techniques as applied to industrial design.
and out of class assignments, expands student learning in Students will use traditional methods of ideation based on
developing high-end concept art using various film and source materials to produce polished final pieces in digital
game, industry-aligned software. Emphasis is placed on platforms. Complex homework assignments tap into the
storytelling, painting technique, and the ability to complete principles of design as outlined in lectures,
finished pieces. Classes include a mixture of weekly demonstrations, and critiques. Students are expected to
painting demonstrations, discussions of cinematic cover the cost of supplies, estimated between $50 and
concept methods, and in-class exercises, as well as $75.
portfolio critiques and industry tips. Students will explore
various styles of painting through homework assignments Environment Design
and work toward polished conceptual projects. Design environments for film, animation, and games
Drawing in 3D This course covers the basics of designing different types

Learn to create the illusion of 3 dimensions on a 2 of environments for animation, film, and games. Students
dimensional surface learn perspective, composition, and research techniques as
they apply to environments for believable detail, clear tonal
This course teaches students how to approach a variety reads, and lighting. Lectures and demonstrations stress the
of subjects using traditional methods of perspective. importance of the expressive differences between interior
Students will develop an understanding of managing scale, and exterior environments. Through critiqued homework
measurement, shadows, composition, and the overall assignments and a final project, students will develop their
mechanics of one-, two-, and three-point perspective, own environmental illustrations with learned digital rendering
all supported by in-class lectures and demonstrations. techniques.
Complex at-home assignments utilize these methods
to illustrate relevant subjects such as spacecraft and Gesture Drawing
vehicles, building towards the presentation of final projects. Develop skills in gesture drawing from a live model
Students are expected to cover the cost of supplies,
estimated between $50 to $80. This course is a complement to Life Drawing, focusing on
the expression of gesture in the human form. In-class
Drawing Fundamentals 1 drawing sessions use live models, both nude and
Communicate complex design ideas via visual media costumed, in a variety of character and story-driven poses.
Students will learn critical elements of dynamic drawing,
In this course, students learn to recognize and effectively such as pose analysis, silhouette development, proportion,
utilize complex and abstract forms to communicate ideas. balance, and critical thinking in terms of storytelling and
Students will develop skills in expressing value, shadows, design. By drawing quickly and spontaneously, students
shading, perspective, and composition in both traditional learn to be more creative, inventive, and versatile as visual
and digital platforms. Lectures and demonstrations artists. Students are expected to cover the cost of
support in-depth homework assignments, creative supplies, estimated between $30 to $60.
projects, and a final presentation. This course is a
cornerstone of learning foundational methods of
communicating visual constructs. Students are expected
to cover the cost of supplies, estimated between $75 and
$100.

Life Drawing Prop and Weapon Design
Develop skills in foundational figure drawing Design and digitally build conceptual props
In this course, students learn to draw the human figure, This course explores the design methods used to build
utilizing both traditional and non-traditional principles and conceptual props based on a given script. Students will
techniques. Styled after a foundation art school figure sketch and ideate prop and weapon designs in traditional
drawing course, the principles of form and gesture are media for a specific application in a digital platform. They
applied to in-class live model sketching and homework will utilize form language, thumbnailing, reference,
figurative studies. Communicating gesture, creating research, and materials studies. Lectures cover these
accurate anatomy and proportion, and developing a body design methods and how to craft concept in a group.
of figurative portfolio work are inherent to this course,
supported by in-class demonstrations and lectures. Vehicle and Mech Design
Students are expected to cover the cost of supplies, Design vehicles and mechs for digital entertainment
This course teaches students to sketch, style, and render
Photoshop for Digital Production vehicles using digital rendering techniques. Students learn
Build an understanding of the principles of Adobe design cues and a visual language that allows an audience
Photoshop to understand the roles of vehicles in film and game
narratives. Lectures, demonstrations, and master studies
This course provides students with a working foundation contribute to an in-depth understanding of the purpose of
of the interface and tools of Adobe Photoshop. Through vehicle design. Through critiqued homework assignments
lectures, demonstrations, and exercises, students learn and a final project, students will develop vehicle designs
tools for photographic retouching, color treatment, use of and illustrations using both traditional and digital rendering
layers and selections, photographic manipulation, and techniques.
compositing. Students will gain the ability to create and
utilize advanced photo manipulation and image editing
techniques to create 2D images and assist 3D design.
Over the 10 weeks students will become practiced in the
flexibility and power of Adobe Photoshop as it relates to a
digital production workflow.

APPENDIX 4:
COURSE DESCRIPTIONS
AVOCATIONAL STUDIES
INDIVIDUAL COURSES
Artwork by Anthony Ragusa

INDIVIDUAL COURSES
Advanced Compositing Anatomy of Games
Evaluate the best approach to a shot using The Foundry’s Explore the principles of successful game creation
Nuke
This course explores the history and principles behind some
This course builds on the principles learned in Art of of the most successful games ever produced. By delving
Compositing. Through lectures, demonstrations, and out into early games like dice and board games and then tracing
of class assignments, students learn to develop advanced the leap into electronic and video games, students learn the
compositing techniques inside of The Foundry’s Nuke. roles that gameplay, art, and design each play in the creation
Compositing techniques such as tracking removal, of a game. Lectures, weekly assignments and group projects
core and edge matting, keying challenges, exr multi round out the course experience. Students are expected to
pass compositing, 2D depth of field and motion blur, 3D cover the costs of field trip parking and travel, estimated to
projections, matte painting integration, and 3D relighting be between $0 to $10.
will be covered. Students will explore various styles of
compositing, learning to accelerate their workflow in a Animal Drawing
professional manner, through complex projects for critique. Learn animal anatomy, biomechanics, and dynamic form
Advanced Digital Sculpting In this course, students learn the foundations of animal
Use advanced techniques in Pixologic’s Zbrush to create anatomy. Students will be exposed to live animals in a variety
3D printable models of settings, learning the basic musculoskeletal anatomy of
quadrupeds, illustration techniques, and dynamic form and
This course focuses on using advanced hard surface gesture. Lectures cover biomechanics, methodologies of
sculpting techniques in Pixologic’s ZBrush to create gesture, the biology of creature design, and the specifics of
models for film, games, and 3D printing. Concepts equine gaiting, behavior, and communication. Students will
focusing on form, design, and articulation will be create a creature for a final project and present it for critique.
combined with lectures on workflow techniques and Students are expected to cover the costs of field trips,
troubleshooting. The robust tool set of ZBrush - including admission, parking, and supplies, estimated to be between
but not limited to ZModeler, Dynamesh, ZRemesher, Panel $50 to $80.
Loops, Sculptris Pro and 3D Widget Deformers like Project
Primitive - will be shown to empower students to create Animation and Visual Effects 1
high-quality hard surface models quickly. Students will Discover how to achieve high-quality digital effects
apply distinctive features and options within the software
towards a finalized, detailed, ready-to-print or rendered This course exposes students to the methods used to
hard surface model. achieve high-quality visual effects animation. Tools are
learned in context with how they are used in a professional
Anatomy for Artists production environment, and problem-solving is critical to
Explore the foundations of human anatomy through coursework. This course focuses on Maya’s core tool set
structural analysis for producing motion keyframing, procedural modeling
and animation, dynamics, and sound synchronization.
In this course, students learn the foundations of anatomy Weekly exercises will help cement this important tool set
through illustrating the structure of the human body. into students’ workflows in preparation for working within
Understanding the functionalities of the musculoskeletal different production pipelines.
system, proportion, dynamic form, and how light and
shadow affect the body are critical elements of this
course. Classes include lectures, drawing demonstrations,
and drawing exercises with live models. Academy-style
master copies and skeletal studies based on in-class work
comprise the homework assignments. Students are
expected to cover the cost of supplies, estimated between
$50 to $80.

Animation and Visual Effects 2 Character Animation 1
Learn how to use advanced tools to create production Learn the fundamentals of animation with Autodesk Maya
quality animation and digital effects
This course introduces students to 3D character
In this course, students combine skills gained in Animation animation using Autodesk Maya. The twelve principles of
and Visual Effects 1 with newly introduced concepts to animation will be used to help students develop strong 3D
create complex exercises. Advanced assignments in character animation skills in Maya, while gaining exposure
animation, lighting, rendering, simulation, camerawork, to animation rigs and powerful tools like the Graph Editor.
and the creation of animatics will broaden students’ Assignments such as executing a bouncing ball, walk and
comprehension of the art of animation. The class covers jump cycles, and an introduction to rigging will be taught.
concepts related to the visual, spatial, sound, motion, Production workflows and techniques are learned through
interactive, and temporal elements and features of digital lectures, demonstrations, and weekly homework
technology for their use in the creation and application of exercises. Students will cement core animation skills
digital media-based work. Digital cinematography will be which build in complexity over the course of the class,
addressed in lectures to help students achieve compelling culminating in a final project for critique and review.
compositions and camera animations. Students will gain
exposure to the MASH motion graphics tool as well as Character Animation 2
multiple dynamic simulation tools including particles, Translate body mechanics into 3D animation
fluids, and cloth FXs in this course.
This course covers the processes and techniques used to
create believable and appealing bipedal body mechanics
Art of Compositing in animation. The exploration of topics such as walking,
Develop essential introductory techniques to compositing running, jumping, throwing, and heavy lifting will be
using The Foundry’s Nuke utilized to create physically accurate motion for bipedal
characters. Through in-class lectures, demos, and homework
This course builds on the principles learned in exercises, students will develop a better
Introduction to Compositing. Through weekly lectures, in- understanding of the subtleties of believable character
class practice, and out of class assignments, students animation and continue to refine efficient Autodesk Maya
learn compositing techniques using The Foundry’s Nuke. production animation workflows. Through the term,
Emphasis is placed on the user interface, node-based weekly exercises in walk and run cycles, crafting fluid
workflows, color correction, rotoscoping, color animated movement, and timing and spacing will build
management, painting, tracking, color keying, matting, and upon each other, culminating in the creation of a complex
3D workflows. Classes include compositing action driven character animation mini reel in Maya.
demonstrations, discussions of node-based methods,
project critiques, and industry tips. Students will explore Character Animation 3
various styles of compositing utilizing Nuke, working Apply emotion and performance to character animation
This course is an advanced exploration of the acting and
performance aspects of character animation in Autodesk
Maya. Building upon the mechanical and technical
concepts covered in the previous two animation courses,
students will be introduced to methods for adding appeal,
purpose, and emotion to their characters. Methods of time
management and planning will be taught so students can
work towards achieving polished pieces. Through in-class
lectures, demonstrations, and homework exercises, students
will develop a better understanding of the subtleties of
performance-driven animation and how to invoke a response
in the audience. Students will produce several polished
performance-centric animated scenes, using body language
and facial expression, throughout the course for ongoing
group review, culminating in a final presentation for critique.

Character Animation 4 Character Modeling and Sculpting
Develop complex facial animation techniques Use classical techniques to create bipedal production
models
This course provides students with an in-depth look at the
process of creating strong, appealing facial animations and This course teaches students to build balanced bipedal
lip-sync techniques. Students learn to create emotionally characters, merging the traditional art of sculpting with
convincing performances through expression and dialogue. digital modeling techniques. Autodesk Maya, in
Through in-class lectures, demonstrations, and at-home conjunction with Pixologic’s ZBrush, is used to create
exercises, students develop a better understanding of the appealing and functional characters in 3D. Students will
subtleties of good animation. focus on the technical processes needed to create
detailed production models. Lectures and demonstrations
cover the use of anatomy as it pertains to modeling
Character Creation for Games
bipeds, clothing, and accessories, as well as the technical
Optimize artistic approaches to deformable character
needs for creating high quality deformable characters for
creation
animation. Over the term students will complete a fully
This course builds on the fundamentals learned in modeled and sculpted character with animation-ready
topology for critique.
Character Modeling and Sculpting and through weekly
lectures, in-class practice, and out of class assignments,
Character Rigging for Production
introduces students to workflows specific to creating real-
Explore the complex challenges in rigging for production
time character models for games. The course covers topics
including creation of hair cards and realistic cloth, working This course builds on the principles learned in Character
with hard surface elements, and building clean and efficient Rigging Fundamentals, and through weekly lectures, inclass
low poly meshes. Classes include a mixture of weekly practice, and out of class assignments, expands student
sculpting and modeling demonstrations, discussions of learning in creating deformation on a biped character rig
texturing methods, and in-class exercises. Students will in Autodesk Maya. Emphasis is placed on deformation
learn character techniques through homework assignments techniques, including skin clusters, painting skin weights,
which build towards a final class project. corrective blendshapes, facial rigs using blendshapes, cloth
setups, the basics of muscles, and quadruped rigs. Classes
Character Design include rigging demonstrations, discussions of production
Learn the fundamental aspects of character design workflows, and project critiques. Students will explore
various styles of rigging through homework assignments
This course teaches the process of character design in and work towards a final character rig project.
the entertainment industry. Students create characters
from start to finish, going through the pre-production
Character Sculpture 1
stages of research, concept, and the craft of editing
Sculpt a character using traditional methods
before a final presentation of a well-developed character.
Thumbnailing, silhouette design, figure invention and This course teaches students to design characters in 3D.
posing, prop and costume design, character archetypes, Understanding the methods of traditional sculpting is an
storytelling, and illustration techniques will be discussed. integral part of learning the foundations of 3D design.
At-home assignments developing characters with Beginning with character design fundamentals, students
industry-standard methods round out this course. learn armature construction, dynamic and neutral posing,
Students are expected to cover the cost of supplies, and then concentrate heavily on primary and secondary
estimated to be between $0 to $15. forms, texturing and detailing their pieces. Lectures and
demonstrations support and inform the overall process of
completing a sculpture to a polished, professional finish.
Students are expected to cover the cost of supplies,

Character Sculpture 2 Creature Animation 1
Sculpt form and anatomy using traditional methods Adapt traditional mechanics to animal animation
This course builds on techniques learned in Character This course expands on the skills learned in previous
Sculpture 1, focusing heavily on the figurative character animation course but shifts the focus to animating
fundamentals essential to successfully creating realistic believable real-world creatures in Autodesk Maya. Students
characters. Students gain further skills in anatomical develop a better understanding of quadrupedal and winged
rendering in 3D through the execution of academy-style animal anatomy and behavior as the foundation of creature
scale models of the head and torso. Each class of the animation. Through detailed analyses of reference footage,
course provides theoretical lectures and in-depth practical aided by in-class demonstrations and lectures, students will
demonstrations by the instructor. The classroom is produce creature animation locomotion cycles. This course
workshop-oriented and students follow along with the also introduces technical methods to students to optimize
instructor through the sculpting process to expand their work flow in professional production environments. Multi-
sculpting capabilities. Students are expected to cover the week projects will increase in complexity throughout the
cost of supplies, estimated between $100 to $150. term, culminating in the completion of several believable
creature animations demonstrating walking, running, and
flying, to be presented for critique. Students are expected
Color Theory and Light
to cover the cost of supplies, estimated to be between $15 -
Explore the fundamentals of color theory
$30.
This course explores the practical 2D applications of the
fundamentals of light and color. Lectures and Creature Animation 2
demonstrations cover topics such as bounced light, Adapt complex mechanics to creature animation
camera effects, value patterns, shadows, and
atmospherics. Value scale and color wheel exercises, and In this course students focus on creating quality animations
at-home assignments in traditional media reinforce of fantasy creatures. A technical understanding of anatomy
learned successful applications of color harmonies and and locomotion contribute to developing professional
atmospheric principles. Gaining experience in the performances in creatures. Students learn to analyze the
foundation of color provides students with the ability to motivations, limitations, and characterized behaviors of a
expand on existing visual techniques. Students are fantastical creature. Emphasis is placed on conceiving and
expected to cover the cost of supplies, estimated between animating a final scene featuring two contrasting characters
$80 to $120. interacting with one another. Students are expected to cover
the cost of supplies, estimated to be between $0 to $15.
Costumed Figure Drawing
Apply foundational figure drawing techniques to Creature Modeling and Sculpting
costumed characters Learn to create believable 3D creatures
This course explores drawing fully-realized characters in In this course, students learn to create complex and
costume. Students will learn to analyze figures with a believable 3D creatures in Pixologic’s ZBrush. Classes will
special emphasis on understanding the anatomical form focus on design, research, and creating appealing forms
beneath the costume. The course provides a strong as they relate to inventing creatures for the entertainment
foundation in figure construction, utilizing light and industry. Real-world demonstrations, lectures, and
shadow, and the mechanics of drapery. Exercises are critiques center on resolving pipeline and design issues
designed to explore storytelling, composition, caricature, that may occur during the creation process. Students will
and characterization, with at-home assignments revolving design, sculpt, and render high quality 3D creatures using
around master copies and costume research from various Pixologic’s ZBrush throughout the term, culminating in a
cultures. Students are expected to cover the cost of posed, high-quality creature concept model created from
supplies, est mated to be between $30 to $35. their imagination.

Digital Matte Painting Digital Painting 2
Create complex matte paintings in 2D and 3D Study advanced methods of painting in Adobe Photoshop
for film and games
This course builds on the principles learned in Digital
Painting. Students will learn the art of digital matte painting This course builds on the principles learned in Digital
using Adobe Photoshop and The Foundry’s Nuke. Emphasis Painting, and through weekly lectures, in-class practice,
is placed on photo manipulation, lighting, atmosphere, and out of class assignments, expands student learning in
compositions, color matching, layer setups, 3D render developing high-end concept art using various film and
paint overs, 2.5D projections, set extensions, and plate game, industry-aligned software. Emphasis is placed on
cleanup. Classes include a mixture of demonstrations, storytelling, painting technique, and the ability to complete
group discussions of production workflows, and in-class finished pieces. Classes include a mixture of weekly
exercises, as well as portfolio critiques and industry tips. painting demonstrations, discussions of cinematic
Students will explore various styles of matte painting and concept methods, and in-class exercises, as well as
work towards polished final projects. portfolio critiques and industry tips. Students will explore
various styles of painting through homework assignments
and work toward polished conceptual projects.
Creature Design
digital methods Digital Photography
Learn the technical basics of digital photography
In this course, students learn the processes used to
develop fantasy creatures. Students will research and This course covers the basics of digital photography and
develop creature designs from idealization to completion. its role in the visual effects and game industries. The
Anatomy, form, storytelling, and character development fundamentals of color theory, lighting, and composition
aid in creating believable and appealing designs. In-class are central to students’ learning. The class will expand to
demonstrations and lectures on the applications of advanced production topics including color correction,
biology to design are used to establish an understanding color grading, accurately photographing textures for use in
of how to illustrate complex creatures. Discussions of 3D, spherical panoramic photography, high-dynamic range
industry experts fosters inspiration for students’ own imaging, working with camera raw files, and postproduction
methodologies. Students are expected to cover the cost workflow. Hands-on exercises, in-class lectures, and
of supplies, estimated to be between $0 to $20. demonstrations will help students become familiar with the
photographic processes necessary for success in the film
and games industries. Students are expected to cover the
Digital Painting 1
cost of supplies, estimated at $45.
Learn the traditional principles of perspective
In this course, students learn to translate traditional Digital Sets

painting and drawing skills into the digital medium of Learn advanced techniques for creating natural and
painting in Adobe Photoshop. Fundamental concepts such architectural environments
as perspective, value, and color are reinforced as students
gain experience with using painting tools in digital art This course provides an examination of the techniques and
production. Through lectures, demonstrations, and in-class strategies used to create rich and believable digital sets,
exercises, students apply fundamental concepts of light, environments, and realistic assets. Topics covered include
composition and material definition to their assignments photography, photogrammetry using Agisoft Photoscan,
and a final project. manual and procedural modeling tools like SpeedTree and
World Machine, texturing, and environmental lighting. Over
the course of the term, students will learn the process of
building fantastic believable worlds in 3D using a wide
range of techniques and tools for use in multiple rendering
engines. Students are expected to cover the cost of supplies,
estimated at $45.

Digital Sculpting Drawing in 3D
Learn the technical basics of sculpting with Pixologic Learn the traditional principles of perspective
ZBrush
This course teaches students how to approach a variety
This course introduces Pixologic’s ZBrush and its role of subjects using traditional methods of perspective.
in digital sculpting, 3D art, 3D printing, and illustration. Students will develop an understanding of managing scale,
Students learn the interface, tools, and workflows used measurement, shadows, composition, and the overall
to proficiently create digital models and sculptures using mechanics of one-, two-, and three-point perspective, all
ZBrush and Maya. Artistic processes including creating supported by in-class lectures and demonstrations. Complex
models from the ground up, high frequency detail creation, at-home assignments utilize these methods to illustrate
and texturing techniques are taught using the robust relevant subjects such as spacecraft and vehicles, building
ZBrush feature set. Tools such as the powerful sculpting towards the presentation of final projects. Students are
brushes, ZSpheres, Dynamesh, and more are used to show expected to cover the cost of supplies, estimated between
students how to create high quality 3D sculptures with $50 to $80.
confidence. Production workflows such as importing,
exporting, and map generation are also covered to ensure Dynamic Effects 1
students utilize the work created in ZBrush in other Learn the technical basics of dynamics in Autodesk Maya
applications.
In this course, students are introduced to a wide range of
Drawing Fundamentals 1 powerful dynamic particle simulations solutions inside of
Communicate complex design ideas via visual media Autodesk Maya. Students will become familiar with how to
create simple to complex visual effects like rain, dust, fire,
In this course, students learn to recognize and effectively smoke, bullets, and fireworks. Tools like nParticles, the Bullet
utilize complex and abstract forms to communicate ideas. solver, and Maya Fluids will be taught alongside professional
Students will develop skills in expressing value, shadows, production workflows. Through demonstrations, lectures,
shading, perspective, and composition in both traditional analysis of reference, and homework rendering exercises
and digital platforms. Lectures and demonstrations that reinforce in-class learning, students will gain techniques
support in-depth homework assignments, creative for understanding and exploring particle emission, emitters,
projects, and a final presentation. This course is a and how to creatively control the look and feel of Maya
cornerstone of learning foundational methods of dynamic simulation tools. Students will create many
communicating visual constructs. Students are expected different visual effects shots using a wide range of artistic
to cover the cost of supplies, estimated between $75 and and technical methods, culminating in a final project that
$100. leverages the skills and techniques learned over the course
of the term.
Drawing Fundamentals 2
Apply illustration techniques to industrial design Dynamic Effects 2
Learn to create fundamental dynamic effects
This course is a continuation of Drawing Fundamentals
1.Students focus on developing advanced sketching and In this course, students will build upon the foundations of
illustration techniques as applied to industrial design. particle simulation effects gained in Dynamic Effects 1. An
Students will use traditional methods of ideation based on array of associated techniques required to create a wide
source materials to produce polished final pieces in digital range of dynamic effects in live action plates will be taught
platforms. Complex homework assignments tap into the in this course. Lectures, demonstrations, and homework
principles of design as outlined in lectures, assignments which reflect in-class learning provide students
demonstrations, and critiques. Students are expected to with the impetus to develop their own artistic styles.
cover the cost of supplies, estimated between $50 and Systems like nParticles, nCloth, FLIP fluids, and instance-
$75. based dynamic solutions will be taught alongside real-world
production tasks to create appealing visual effects shots
which will be held to a standard of professional quality.
Students will create and render multiple dynamic effects
shots, culminating in a final presentation for critique and
review.

Dynamic Effects 3 Environment Design
Simulate and render fluids with Autodesk Maya. Design environments for film, animation, and games
This course builds upon principles learned in Dynamic This course covers the basics of designing different types
Effects 1 and 2. Students will be guided through advanced of environments for animation, film, and games. Students
production techniques, utilizing fluid solvers and advanced learn perspective, composition, and research techniques as
cloud and particle workflows. The methods for setting they apply to environments for believable detail, clear tonal
up dynamic and non-dynamic simulations for live action reads, and lighting. Lectures and demonstrations stress the
and full CG production shot assets and sequences will importance of the expressive differences between interior
be covered. It is recommended that students take an and exterior environments. Through critiqued homework
introductory Houdini class before taking this class. assignments and a final project, students will develop their
own environmental illustrations with learned digital rendering
techniques.
Dynamic Effects 4
Build a dynamic effects sequence with Autodesk Maya and
Houdini FX Expressions and Scripting
Study advanced scripting techniques in Autodesk Maya
This course focuses on advancing students’ knowledge of
how to complete complex production-quality visual effects This course builds on the principles learned in Introduction
sequences. Students will be guided through advanced to 3D with Maya. Students will gain experience in basic
production tools and techniques, utilizing multiple fluid scripting inside of Autodesk Maya using Mel and Python.
solvers and advanced cloud and particle workflows in Emphasis is placed on the core concepts of scripting and
Houdini, Maya Fluids, and Phoenix FD. The methods for understanding how Maya functions under the user interface.
setting up dynamic and non-dynamic simulations for live The fundamentals of scripting will be taught, including
action and full CG production shot assets and sequences creating shelf buttons, syntax, object types, arguments,
will be covered. Lectures, in-class demonstrations, and conditional statements, loops, and design patterns. Classes
homework assignments in support of midterm and final include a mixture of weekly scripting demonstrations,
project development will help students gain and develop a lectures and discussions of production workflows, and
solid understanding of how to leverage multiple programs in-class exercises. Students will explore various styles of
to create a cohesive effect. Students will create an entire scripting through homework assignments and work towards
visual effects sequence over the course of the term for final a functional final project.
review and critique. It is recommended students take an
introductory Houdini class before taking this class. Game Creation 1
Gain an in-depth understanding of the process of game
Environment Creation for Games creation
Learn to build interactive environments for games This course is designed to give students an introductory
This course presents students with the techniques understanding of working with game content in the Unreal
currently used in game production to create complex real- Engine 4 toolset. Through lectures and demonstrations,
time environments. Course lecture topics cover building students will grasp the Unreal Engine 4 import pipeline, set
modular assets on a grid, sculpting tiled textures, and set up an interactive asset, build a short cinematic, and create
dressing. Proficiencies highlighted in the class include simple material networks. Classes include a mixture of
scene composition and efficiency, modeling and weekly in-engine demonstrations, discussions of asset
sculpting, baking and transferring maps, creating textures creation methods, and in-class critique of homework and
and materials, and level assembly. Students will projects. Students will learn basic game production pipeline
progressively learn skills through homework assignments through homework assignments and work towards a final
which build towards developing a lit and color graded final class project for review.
portfolio piece for presentation and critique.

Game Creation 2 Game Design
Create immersive real-time worlds in games Define game design through exploration of fundamental
This course builds on the topics and techniques presented
in Game Creation 1. With an emphasis on creating realtime This course is an introduction to the fundamental concepts,
worlds, students will dig into workflows and techniques techniques, and artistry of game design. It provides
for creating terrains, foliage, and destructible meshes, students with both hands-on experience designing games
utilizing Unreal Engine 4’s specific tools for creating as well as a broad and practical understanding of how
natural environments. Classes include a mixture of weekly games are designed in the game industry today. Through a
in-engine demonstrations, discussions of world building combination of lectures covering key game design concepts
methods, and in-class critique of homework and projects. (mechanics, feedback, game loops, etc.), in-class game
Students will learn these environment tools through analysis, and actively designing and building their own
homework assignments which build towards a final class boardgame, students gain a fundamental understanding and
project. appreciation for how games are designed.
Game Creation 3 Gesture Drawing

Explore the technical side of real-time game creation Develop skills in gesture drawing from a live model
This course builds on the basics learned in Game Creation This course is a complement to Life Drawing, focusing on
1 and delves into Unreal Engine 4’s toolset for incorporating the expression of gesture in the human form. In-class
animation into real-time projects. Students will learn drawing sessions use live models, both nude and
the character asset production pipeline, beginning with costumed, in a variety of character and story-driven poses.
rigging and animation in Maya and building to export and Students will learn critical elements of dynamic drawing,
implementation in Unreal Engine 4. Classes include a such as pose analysis, silhouette development, proportion,
mixture of weekly in-engine demonstrations and in-class balance, and critical thinking in terms of storytelling and
critique of homework and projects. Students will create design. By drawing quickly and spontaneously, students
a series of homework assignments and a final project for learn to be more creative, inventive, and versatile as visual
review and critique. artists. Students are expected to cover the cost of supplies,

Explore the technical production techniques necessary for Learn object asset creation for game development
game creation
This course expands on techniques from the previous 3D models with polygon geometry. Lectures delve into the
various production techniques of asset creation through the
Game Creation courses and explores intermediate and exploration of polygonal modeling and the preparation of
advanced techniques in visual scripting through Unreal constructed models for texturing. The basic toolset in
Engine 4’s Blueprint system. Classes are split between Autodesk Maya will be covered, and students will benefit
lectures on the logical underpinning of scripting techniques, from lectures about the technical and aesthetic issues that
live demonstrations of those techniques, and guided professional modelers face while modeling environments
hands-on lab work where students can put their learning and man-made objects. Students will create weekly models
to practical use. Students will learn Blueprint scripting throughout the term and the class will culminate in a final
concepts to create mechanics and interactions through project consisting of building an intermediate to complex
their homework assignments, which build towards a final model like a vehicle, robot, or prop.
class project.

Hard Surface Modeling 2 Houdini 2
Learn advanced hard surface polygon modeling techniques Use SideFX Houdini to create complex visual effects
in Autodesk Maya animation
This course teaches students to model complex assets This course builds on the principles learned in Houdini 1.
such as vehicles, robots, and weapons. Lectures focus on Through lectures and homework assignments, students
the use of polygonal modeling tools in the development of learn to develop introductory simulations using SideFX’s
form and detail, as well as production-specific issues Houdini. Emphasis is placed on Houdini’s dynamics tool
pertaining to poly count, surface quality, and topology. Over kit, including particles, volume-based fluids, flip fluids,
the term, students become familiar with the techniques and pyro effects. Classes include a mixture of weekly
used to create high-quality hard surface models efficiently. dynamic simulations demonstrations and discussions of
Classes cover different modeling techniques from box the procedural methods used, as well as project critiques
modeling to sculpting and resurfacing. Students will and industry tips. Students will explore various workflows,
complete two production quality models over the course of building individual final projects.
the term.
Houdini 3
History and Principles of Animation Explore various effects, tools, and techniques in SideFX
Survey the historical techniques of animation Houdini
This course introduces students to the history and This course builds on the principles learned in Houdini 2,
techniques of animation. Lectures and demonstrations use and through weekly lectures, in-class practice, and out of
the Twelve Principles of Animation as a springboard into class assignments, expands student learning in developing
deconstructing the visuals of both animated and live-action high-end effects animation in SideFX’s Houdini. Emphasis
films. Students learn to address issues such as planning a is placed on VEX Scripting, Point Clouds, Shading, timing
scene, thumbnailing, understanding traditional animation control, and interactive illumination to create a lightning bolt
techniques, and to improve their draftsmanship. Executing setup. Learn to build a custom growth solver with vector
basic animation tests, sketchbook development, and math, fuzzy logic, chaos theory, and VEXpressions. Students
working towards completing an animated walk cycle are will learn the creation of destruction with fracture patterns,
critical elements to this course. Students are expected to vdb fracturing, boolean fracturing, and packed primitives,
cover the cost of supplies, estimated between $15 to $20. as well as Liquid Explosion with Flip fluids, pyro, vector
math, microsolves, pyro shader, and interactive illumination.
Classes include procedural simulations demonstrations
Houdini 1
and discussions of production workflows, as well as project
Learn the technical basics of SideFX Houdini
This course builds on the fundamental concepts of 3D by styles of effects workflows through homework assignments
developing procedural content creation inside of SideFX’s and work towards completing several individual projects.
Houdini. Emphasis is placed on creating 3D scenes utilizing
a procedural node based network, including animation,
scattering, vegetation, terrain, and oceans, all rendered
inside Houdini. Classes include a mixture of weekly
demonstrations and discussions, as well as project
styles of procedural networks through homework
assignments, working towards a polished final project
created using Houdini.

Houdini 4 Level Design
Learn advanced Houdini production techniques Explore the process of 2D and 3D level design for games
This course builds on the principles learned in Houdini
3, expanding student learning in developing high-end This course illustrates and exemplifies the role of a level
workflows inside of SideFX’s Houdini. Students will designer on a game project as they carry out the task of
develop the skills needed to set up and organize an defining and generating a playable space. Through weekly
fxdriven production shot through procedural workflows lectures, in-class practice, and homework assignments,
for a sequence-based environment. They will also learn students will examine the process of greyboxing and
to create micro tools to assist in streamlining workflows. level layout, become familiar with the concepts of pathing
Learn to implement fx setups that are stable and procedural and reveals, and recognize the importance of the use of
so that setups can work on different incoming geometry. modularity and elevation. Classes include a mixture of
The classroom environment will support and implement weekly in-engine demonstrations and in-class critique of
constructive criticism on in-class exercises, as well as homework and projects. Students will create a series of
provide project critiques and industry tips. Students will homework assignments and a final project for review and
explore various styles of procedural effects methods critique.
through homework assignments and work towards taking
an fx shot from idea to final comp. Life Drawing
Develop skills in foundational figure drawing
Introduction to 3D with Maya In this course, students learn to draw the human figure,
Learn the technical basics of Autodesk Maya utilizing both traditional and non-traditional principles and
This course focuses on the foundation of 3D computer techniques. Styled after a foundation art school figure
graphics using Autodesk Maya. Students are introduced to drawing course, the principles of form and gesture are
the Maya interface and philosophy, as well as 3D modeling, applied to in-class live model sketching and homework
texturing, lighting, rendering, and animation. Lectures cover figurative studies. Communicating gesture, creating
the applications of these tools in the film and game accurate anatomy and proportion, and developing a body of
industries. This course will prepare students to face both figurative portfolio work are inherent to this course,
artistic and technical challenges when creating accurate supported by in-class demonstrations and lectures.
and compelling 3D images, helping to build a foundational Students are expected to cover the cost of supplies,
understanding of both technical workflows and art and estimated between $50 to $80.
design aesthetics. Students will work on multiple projects
throughout the course for critique that will help establish a Lighting and Rendering 1
solid 3D skill set in both realistic and conceptual 3D Learn the basics of lighting in Autodesk Maya and V-Ray
computer generated art.
This course builds on the principles learned in Introduction
to 3D in Maya. Students will learn to create artistic and
Introduction to Compositing cinematic lighting setups with Autodesk’s Maya and Chaos
Use layering to create composited imagery in After Effects Group’s VRay. Instruction covers creating renders that
This class introduces students to the basics of enhance visual storytelling through lighting, techniques to
compositing. Through weekly lectures, in-class exercises, light characters, products, exterior and interior
and homework assignments, students will learn the environments, and lighting for live action footage. Classes
fundamental concepts of compositing inside of Adobe’s include a mixture of weekly lighting demonstrations,
After Effects. Emphasis is placed on the user interface, discussions of cinematic approaches using industry
compositions, keyframing, layers, footage, color keying, 3D standard methods, project critiques, and industry tips.
layers, and a variety of tools utilized in compositing Students will explore various styles of lighting through
workflows. Classes include After Effects demonstrations homework assignments and work towards completing a
and discussions of compositing methods, as well as project polished final project for review.
styles of compositing through their assignments, working

Lighting and Rendering 2 Lighting and Rendering 4
Study the technical aspects of lighting in Autodesk Maya Create high quality images using production rendering
and V-Ray techniques
This course builds on the principles learned in Lighting and This course builds on the principles learned in Lighting
Rendering 1. Through weekly lectures and demonstrations, and Rendering 3, and through weekly lectures, in-class
students gain experience in the technical side of lighting practice, and homework assignments, expands student
and rendering inside of Autodesk’s Maya, Chaos Group’s learning in developing production rendering techniques in
VRay, and The Foundry’s Nuke. Emphasis is placed on Autodesk’s Maya, Chaos Group’s VRay, and The Foundry’s
image sampling, quality versus speed in the render, GI Nuke. Emphasis is placed on production workflows and
sampling, frame sequences, handling artifacts, baking GI, integrating more control between Maya and Nuke, blurring
multi pass rendering and assembly in Nuke, motion blur, the lines between what control is possible between the 3D
depth of field, atmospheric fog, caustics, and 3D integration and 2D software. Methods are taught through VRay Render
into live action in Nuke. Classes will cover technical Elements, including compositing raw elements the right way,
rendering demonstrations, discussions of production handling antialiasing of renders, deep compositing, and 2.5D
problems, project critiques, and industry tips. Students will relighting with Normals and World position. Classes include
explore various methods of troubleshooting 3D renders a mixture of lighting and rendering demonstrations and in-
through homework assignments and work towards a class exercises, as well as project critiques and industry tips.
polished final project. Students will explore various styles of production workflows
through complex assignments and work towards a polished
final project.
Study alternative solutions for industry standard rendering
softwares and techniques Liquid Simulations
Create production liquid simulation solutions for visual
This course builds on the principles learned in Lighting and effects
Rendering 2. Students will learn to create renders utilizing
Solid Angle’s Arnold and Redshift inside of Autodesk’s This course focuses on intermediate to advanced
Maya. Emphasis is placed on experiencing a shot-based approaches to creating production-quality liquid simulations.
production environment, learning the fundamentals of Tools like Flip simulations in Houdini, Bifrost, and Phoenix
unbiased rendering with Arnold, and biased gpu rendering FD in Maya will be the focus of the class. Students will
with Redshift. An in-depth look of both renderers’ materials, begin with the fundamentals of how these solvers work and
lights, object properties, and render settings will be progress to designing and creating high quality production
taught. Classes include a mixture of weekly technical shots.
demonstrations, discussions of production workflows,
project critiques, and industry tips. Students will explore Look Development
various styles of shot production workflows, working Delve into the technical challenges of creating surfaces for
towards a polished final shot sequence. look development
This course builds on the principles learned in multiple
intermediate courses, such as Lighting and Rendering and
Texturing and Shading. Students will learn the tools and
techniques necessary for look development with Autodesk’s
Maya, Chaos Group’s VRay, and The Foundry’s Nuke and
Mari. In-class lectures cover developing the look of and
polishing 3D renders in different areas of the production
environment, including characters and environments. Topics
include subsurface scattering for characters, translucent
materials, human eyes, vegetation, and terrains, as well as
the utilization of multi mattes to polish 3D renders. Student
learning will benefit from demonstrations of creating
atmosphere and mixing live action elements with cg effects.
Homework assignments and a polished final project for
critique and review round out this advanced course.

Photoshop for Digital Production Scripting for Production
Build an understanding of the principles of Adobe Learn to create production tools and interfaces using Python
Photoshop
This course builds on the principles learned in Expressions
This course provides students with a working foundation of and Scripting. Students will explore Python scripting and
the interface and tools of Adobe Photoshop. Through creating tools with user interfaces inside of Autodesk Maya.
lectures, demonstrations, and exercises, students learn Emphasis is placed on creating production-ready tools with
tools for photographic retouching, color treatment, use of user interfaces built in PySide and Qt Designer. Lectures
layers and selections, photographic manipulation, and and exercises cover user interface design and creating an
compositing. Students will gain the ability to create and asset browser through standard application development
utilize advanced photo manipulation and image editing techniques. Classes include a mixture of weekly scripting
techniques to create 2D images and assist 3D design. Over demonstrations and discussions of production workflows,
the 10 weeks students will become practiced in the as well as project critiques and industry tips. Students will
flexibility and power of Adobe Photoshop as it relates to a explore various styles of creating production tools through
digital production workflow. homework assignments and work towards a functional final
project.
Prop and Weapon Design
Design and digitally build conceptual props Storyboarding
Learn the basics of film grammar for storyboarding
This course explores the design methods used to build
conceptual props and products based on a given script. This course introduces the fundamental cinematic and
Students will sketch and ideate prop designs in traditional storytelling grammar necessary for a career in film, games,
media for a specific application in a digital platform, or visual effects. Students will learn the technical basics of
utilizing form language, thumbnailing, reference and storyboarding to gain a more complex understanding of the
research, and materials studies. Lectures cover these visual language of film. Through lectures, in-class film
design methods and how to craft concept in a group. analysis, discussion, and exercises in and out of class,
Students will work in both 2D and 3D towards building a students learn to translate what drives story and character
final project for presentation. into previsualization and storyboarding. The intersection of
literary and visual storytelling, the technical aspects of
camera, and how to pitch ideas in the industry are critical to
Props and Weapons for Games
the development of midterm and final projects for
Learn the fundamentals of prop and weapon design for
presentation.
games
This course presents the fundamentals for creating Stylized Character Creation
artistically creative prop models optimized for real- Create stylized characters for games and animation
time engines. Priority is placed on gaining an in-depth
understanding of normal maps and how important In this course, students learn to translate 2D designs into
they are throughout the entire process, and a strong appealing 3D characters using Pixologic’s ZBrush and
understanding of taking an asset from start to finish for Autodesk Maya. Design principles and 3D techniques are
game development. Students will learn presentation skills utilized to build professional-quality stylized characters for
for delivering assets, to prepare for critiques through feature animation and games pipelines. Demonstrations,
homework assignments, and work towards a final class lectures, and critiques focus on the artistic and technical
project. concerns of the character creation pipeline. Students will
learn to build, sculpt, and pose their characters, creating
a final clean render for critique which touches on all the
features of stylized characterization by the end of the
course.

Texturing and Shading 1 Texturing & Shading 4
Design and map materials for modeling with Autodesk Use advanced software to texture and shade creatures and
Maya’s Hypershade characters
This course builds on the techniques learned in Introduction This course builds on the principles learned in Texturing and
to 3D with Maya. Through weekly lectures and out of class Shading 3. Students will learn to develop high resolution
assignments, students develop textures and shaders using textures for characters and creatures utilizing The Foundry’s
Autodesk Maya, Chaos Group’s VRay, and Adobe Mari and Pixologic’s ZBrush. Lectures and demonstrations
Photoshop.Lectures and demonstrations cover how to use will cover a broad scope of methods, including: texturing
Maya’s Hypershade, image-based file textures in 2D and 3D, realistic human skin, teeth, eyes, shading the layers of
texture painting in Adobe Photoshop, shading techniques human skin, realistic creature skin, crafting 3D hair and fur,
with VRay Materials, and basic render setups to creating believable cloth and sculpting wrinkles, final details,
demonstrate how lighting affects materials. Students will displacement maps, and anatomy fixes. Students will explore
be expected to create their own final projects using custom various styles of character and creature texturing and
textures and shaders built from the techniques in class. shading through homework assignments and work towards
a polished final project.
Create realistic texture maps on 3D surfaces Texturing and Shading for Games
Create physically-based materials for real-time applications
This course builds on the principles learned in Texturing
and Shading 1. Through weekly lectures and out of class This course immerses students in the process of creating
assignments, students learn to develop textures and real-time physically based materials widely used in industry
shaders with Autodesk Maya, Allegorithmic’s Substance standard game engines. Lectures, in-class demonstrations,
Painter and Bitmap 2 Material, and Chaos Group’s VRay. and exercises cover material network creation
Emphasis is placed on telling the story behind the materials methodologies and workflows in Unreal Engine 4. Topics
to help drive the process of how textures illustrate various covered include utilizing masks, layers and baked maps,
looks, including weathered and aged effects. The process blending environment materials, and working with decals.
will include a variety of 3D painting and procedural Students will learn efficient material creation techniques
techniques including 3D painting, projection painting, and through homework assignments and the creation of a
utilization of masks and blend materials. Classes include a critiqued final class project.
mixture of weekly painting demonstrations and discussions
of aging methods as well as assignment critiques and Texturing & Shading for Games 2
industry tips. Learn advanced techniques to create textures and materials
for games
Learn the art of texturing and shading hard surface assets This course builds on the skills learned in Texturing and
Shading for Games 1. Students’ abilities to design, create,
This course builds on the techniques learned in Texturing and optimize real-time materials for games will be taken
and Shading 2, and through weekly lectures and homework to the next level. Assignments for the class will focus
assignments, expands student learning in how to develop on tasks students are likely to encounter in a production
high resolution textures using The Foundry’s Mari. scenario. Classes include a mixture of weekly in-engine
Emphasis is placed on introducing the Mari interface, demonstrations and in-class critique of homework and
general workflow, udims, layers, projection painting, and projects. Students will create a series of homework
integrating Mari and Nuke. Students will learn how to assignments and a final project for review and critique.
render the textures inside of Autodesk’s Maya with Chaos
Group’s VRay. Classes include a mixture of painting
demonstrations and discussions of texturing workflows,
create various weekly projects, working towards a polished
final project.

Timing for Animation Visual Effects for Games 1
Apply 2D animation techniques to computer animation Design, create, and optimize visual effects for games
This course teaches students to apply traditional 2D In this course, students will create visual effects by learning
animation techniques to computer animation. From the the fundamental concepts of real-time particle animation
bouncing ball with attitude to a fully developed character, and material manipulation for implementation in a games
students learn to create personality and character medium. In addition to an awareness of the language and
through timing. Different methods of animating a scene methods for proactive critiquing of real-time visual effects,
on paper and techniques for translating drawings to 3D students will become capable of generating an assortment
are addressed through lectures, demonstrations, and of types of real-time effects. Classes include a mixture of
homework projects. weekly in-engine demonstrations and in-class critique of
Vehicle and Mech Design
critique.
Design vehicles and mechs for digital entertainment
This course teaches students to sketch, style, and render Visual Effects for Games 2
vehicles using digital rendering techniques. Students learn Learn further techniques to create visual effects for games
design cues and a visual language that allows an audience
to understand the roles of vehicles in film and game This course builds on the skills learned in Visual Effects for
narratives. Lectures, demonstrations, and master studies Games 1. Students’ abilities to design, create, and optimize
contribute to an in-depth understanding of the purpose of visual effects for video games will be taken to the next level.
vehicle design. Through critiqued homework assignments Assignments for the class will focus on tasks students are
and a final project, students will develop vehicle designs likely to encounter in a production scenario. Classes include
and illustrations using both traditional and digital rendering a mixture of weekly in-engine demonstrations and in-class
techniques. critique of homework and projects. Students will create
a series of homework assignments and a final project for
review and critique.
Visual Effects Design
Design visual effects for preproduction
This course focuses on conceptual design in visual effects

shot production. Storyboarding, camera blocking, research,
and development will be taught along with advanced tools
inside Houdini. Students will learn how to seamlessly
exchange data and simulations back and forth between
programs, optimize workflows, and successfully composite
and complete a shot.

CORRESPONDENCE DIRECTORY
Academic Mentoring Center (AMC) Records
amc@gnomon.edu records@gnomon.edu
Admissions Registrar
admissions@gnomon.edu registrar@gnomon.edu
Alumni Relations Satisfactory Academic Progress (SAP)

alumnirelations@gnomon.edu sap@gnomon.edu
Education Student Accounts

education@gnomon.edu billing@gnomon.edu
education.admin@gnomon.edu
Stage Bookings
Events stagebookings@gnomon.edu
events@gnomon.edu
Student Affairs
Financial Aid studentaffairs@gnomon.edu
finaid@gnomon.edu
Systems Engineer
General Information system.engineer@gnomon.edu
info@gnomon.edu
Technology
Gnomon Library tech@gnomon.edu
library@gnomon.edu
—
Learning Resource System (LRS)
learning.resources@gnomon.edu Phone
323.466.6663
Placement and Alumni Relations
placement@gnomon.edu Fax
323.466.6710

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Artwork by Akin Adekile STUDENT CATALOG

Artwork by Leonardo Krajden

Administrative Office Hours: Monday through Friday from 9:00 AM - 6:00 PM

Office Phone: 323.466.6663

Catalog Effective from April 2020-2021 §71810(b)(1)

Version 2020 - 2021.1 (April 2020)

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Artwork by Omar Taher

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Artwork by Jak Pagan

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- Most courses consist of three (3) hours of

The Bachelor of Fine Arts in Digital Production

- Credit Hour: One quarter credit hour equals

Financial aid is available for those who qualify. This

Artwork by Alvaro Zabala

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LABORATORY PRACTICE & SCHEDULE

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All portfolios can be sent digitally to admissions@gnomon.edu.

For further questions regarding admissions, students should contact admissions@gnomon.edu.

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Satisfactory arrangements for all exit processes must be

Artwork by Aviral Agarwal

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Artwork by Geoff Loo

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Artwork by Jeremiah Ong

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The Digital Production for Entertainment program

Financial aid is available for those who qualify.

Artwork by Tiffany Yung

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EDUCATION FOR CAREERS IN 3D ARTISTRY

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LABORATORY PRACTICE & SCHEDULE

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CHANGE OF PROGRAM GRID

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All portfolios can be sent digitally to admissions@gnomon.edu.

For further questions regarding admissions, students should contact admissions@gnomon.edu.

STUDENT CATALOG 2020-2021.1 pg. 30 of 198

Satisfactory arrangements for all exit processes must be