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New York Film Academy Illustration


New York Film Academy BFA Illustration student work Magdalena Marinova

Overview of our BFA in Illustration

New York Film Academy BFA in Illustration program is offered at our Los Angeles Campus.

Qualified students have the option of completing course work at the New York Film Academy in New York City in a one-year non-degree program and then applying their course work to be accepted for advanced standing in the BFA Illustration degree program.

The NYFA BFA in Illustration curriculum provides immersive training and education in preparation for a career in Illustration, alongside comprehensive study in Liberal Arts & Sciences. The program cultivates with significant depth the competencies, technical skills, practical knowledge, entrepreneurial talents and varied considerations that are germane to Illustration practice. By establishing an overarching philosophical commitment to substantive, incisive and eloquent works of visual communication, the student’s abilities will traverse all major genres and classifications of Illustration, from Editorial and Scientific Illustration to image-making for books and self-publishing, enabling both breadth of exposure and specificity of interest in defining a career as an illustrator.

The BFA in Illustration provides a creative and encouraging setting in which to inspire, challenge and promote the talents of its students as they follow an intensive curriculum and achieve multiple learning objectives.

The first two semesters of the BFA in Illustration establish an elegant framework for the fundamental skills necessary to the study of illustration: sensitivity and criticality in the areas of two-dimensional design; basic color theory; perspective and anatomy in drawing; representational painting from observation; materials and techniques; visual thinking/ideation; applied illustration concepts coupled with an overview of the profession; and the history of the field itself, contextualized by research and discussion of political, social and technological innovations which contributed to its evolution and continuing development. Semesters 3-6 offer a wealth of exposure and practice with processes, materials and mediums in the form of technical workshops. Proficiency in the use of industry-standard hardware and software applications for digital media, as well as the fundamentals of coding for new forms of interactive communication is encouraged through digital coursework. During this period, students develop a thorough and practical understanding of the wide array of visual communication vehicles, content and audiences associated with illustration and strengthen and challenge their critical thinking skills through continual discourse with faculty and peers in concept-oriented coursework. Having developed in previous semesters an affinity for unique ways of working, potential career paths and artistic voice, students enter the final semesters as the culmination of the program. The last two semesters (7-8) require significant focus on the development and fulfillment of a thesis project, building a portfolio and planning for career options, including entrepreneurial enterprise. These experiences accompany the culmination of both rigorous scholarly and visual research in the form of a thesis.

In fulfillment of General Education requirements, students complete the majority of the required Foundation Studies coursework in the first two semesters. Courses taught in the area of Foundation Studies focus on communications, analysis and deductive reasoning. Students practice critical thinking, reading, writing and scholarly research, and these courses build a foundation for more specialized subjects requiring advanced written and oral communication skills in later semesters. Mastered in the prescribed sequence, the skills prepare students for advanced illustration coursework and facilitate the development and completion of informed and viable project proposals for degree projects.


In the first semester, students are introduced to the fundamentals of two-dimensional design and color theory, as well as perspective systems in observational drawing, with an emphasis on convincing articulation of form and volume in space. Visual thinking skills are cultivated alongside exposure to basic semiotics of visual communication, and written and spoken evidence of critical perspective emerges through frequent critique and writing. Students are encouraged to think beyond convention and apply what they have learned to their creative work. They are provided an orientation to the history of western art and visual culture and round out their learning with Foundation Studies courses in English Composition and Physical and Mental Wellness.


In semester two, students will be introduced to a range of materials commonly employed by illustrators and will explore the intersection of idea and applied context, with particular attention to audience and the unique character of a variety of communication vehicles. They will continue to challenge themselves critically and creatively through daily critical discourse in the studio and will be provided with a thorough grounding in representational drawing from observation, with an emphasis on human anatomy, the figure in perspectival space and the construction of dynamic pictorial narrative. An introduction to oil painting will stress articulation of light, fundamentals of color as applied to painting, the material properties of paint, and its uses in technical terms. The History of Illustration is also taught in the second semester, grounding their thinking in the rich heritage of the field through political, social and cultural lenses, and enabling them to apply this knowledge to their own investigations in studio and critique. They will continue to challenge their image-making abilities, both artistically and technically. Students’ visual vocabularies will be further developed through practical and conceptual engagement with their work and the work of others, including seminal visual artists. Students develop persuasive oratory and foundational research skills in Public Speaking.


In the students’ third semester, they investigate deeply the relationships between verbal and visual language in the pictorial interpretation of non-fiction texts—from simple verbal prompts such as idioms and quotations, to contemporary essays and memoirs. They will further their exposure to the heritage of the field in the review of illustrated texts throughout history, and will examine the relationships between verbal and visual language, including the use of tropes and grammatical concepts and compositional structure. Students strengthen their critical and interpretive skills by writing and deconstructing texts of their own. Visual thinking is further mined in the development of ideas and formal and technical sensitivity is deepened through practical illustration problems and critical evaluation. A survey of digital illustration applications, including the Adobe Creative Suite and Corel Painter, provide a substantial grounding in the use of digital media for illustration, thereby preparing students for more advanced coursework such as Coding and Illustrating for Interactive Narrative. A Technical Workshop in Mixed Media, Collage and Assemblage affords exposure to less conventional uses of materials and techniques, adding to their formal and technical competencies while stimulating improvisation and experimentation. They will round out their Foundation Studies with analytical courses in Critical Thinking and Mathematics and will choose either Comparative Literature or Dramatic Literature to fulfill Arts and Humanities credit requirements.


In semester four, Text To Image II will continue investigation of the dynamic partnership between text and illustration, exploring narrative genres such as children’s books, short stories, memoir and historical narratives. Students will grow more committed to documenting the world around them with a class in Sketchbooks and Visual Journalism, which will broaden their exposure to cultures, people and places beyond their own intimate, familiar sphere, while reinforcing skills of drawing from observation, visual thinking and writing. In a course focusing on Series Illustration, students will create projects characterized by multiple different, yet related, iterations on themes. Design principles such as unity within variety are key to the experience in this semester, and practical problems addressing series-oriented content will be undertaken. A course in 3D Digital Graphics will introduce the students to sophisticated 3D rendering, providing requisite skills to produce digital 3D images with the use of industry standard hardware and software. Students will expand their General Education studies to include coursework in Natural Sciences and Social and Behavioral Sciences, providing broader context to their illustration practice.


In semester five, the relationship between picture and word is further explored in Introduction to Typography, a studio course designed to shape student proficiency in typographic design, reinforcing the enduring partnership between illustrator and designer and empowering the illustrator with the necessary abilities to develop sophisticated typographic contexts for their work. Students will build upon the knowledge gained in Social and Natural Sciences in a class specifically designed to call out the symbiotic relationship between scientific data and phenomena, natural forms, and socio-political dynamics by learning to interpret and represent information clearly and objectively. A Coding class will prepare students for a subsequent course in interactive design (see semester six), occurring a little more than halfway along their educational path and affording ample time to explore emerging technologies and media in the remaining semesters. A class in the materials, techniques, processes and uses of manual three-dimensional illustration will occur in semester five, keeping the students in close touch with issues of materiality, tactility, and making, Humanities credits are included in the areas of Social and Behavioral Sciences, and students will choose an upper-division History of Art, Theatre, and Media course to round out their academic coursework.


In this semester students reflect on the role of the illustrator as public intellectual and member of society. Projects in Editorial Illustration, promoting political commentary, philanthropic enterprise, illustrating for non-profits, and engaging in cultural criticism become the focus of studio work, complemented by an orientation to self-published formats for illustration such as comics and zines. Synthesizing drawing and painting from imagination with imagery created from direct observation provides the platform for a genre class in Science Fiction and Fantasy Illustration. The most common subject in all of illustration—the human persona—will be represented in various modes, including portraiture and caricature, while reviewing exemplary precedents by artists and illustrators throughout history. Natural Sciences, Arts and Humanities, and Social and Behavioral Sciences courses round out the students’ coursework.


Combined with their extensive preparatory coursework in pictorial narrative, drawing and painting, and the conceptual, problem-solving skills they developed in the preceding semesters, students are well prepared to embark on the final two semesters of their course of study. At this time students define a final thesis project and determine the direction of their thesis research in a course that provides an investigative forum for both. Courses in Arts and Humanities will further enrich students’ analytical skills. In semester seven, students also explore complex new mediums for communication in Illustrating for Interactivity, utilizing the foundational skills they acquired in the earlier Coding class. Using transformative communication vehicles, they will confront the many considerations affecting the development and interpretation of content. Likewise, students will gain proficiency in the fast-growing field of illustrating for the entertainment industry, relying on the students’ abilities in coding, digital imaging, illustrated characterization, and reiterative visual thinking.


During the final semester, students focus primarily on their thesis projects in the genre of their choice, beginning with a clearly stated objective and a well-articulated research strategy. The written thesis paper is created in tandem with the completion of a sizable final degree project, begun in semester seven and representing the culmination of abilities and insights gained during the previous seven semesters of coursework. Students will produce their theses under supervision of a Thesis Committee comprised of NYFA faculty. Consolidating and refining their work from previous semesters, students will demonstrate advanced technical skills, creative vision, and personal aesthetic in the production of their final portfolio and body of work for the Thesis Exhibition. A course in Entrepreneurial Business Practices promotes multiple possibilities for illustrators and—along with the Portfolio class—assists students in the preparation of a business plan, self-promotional materials, participation in competitions, and the establishment of a support network of peers and industry mentors. Students’ last course in Arts and Humanities category complements their studio research in their final semester.

Course Description (*Optional)

  • 2D Design & Fundamentals of Color This course provides a foundation for image-making by closely examining the elements and principles of two-dimensional design, as well as fundamental concepts of color and color theory. The two-dimensional plane is considered in terms of formal issues such as shape, space, texture, pattern, direction, movement, unity, variety, balance, hierarchy, scale, proportion and contrast, and is further considered as a vehicle for the expression of ideas. Optics and the critical role of color as a strategizing agent in design are explored, with an emphasis on the perceptual dynamics of color in two-dimensions.

    Prerequisite: None
  • Introduction to Illustration: Visual Thinking Visual thinking engages eye, mind and hand in non-verbal thought, using visual language to both develop and communicate ideas. This class encourages visual thinking processes—generative approaches to the use of picture-making which are integral to problem definition and fruitful conceptual thinking—as vital to Illustration. Exercises will feature a quantitative emphasis on design synectics, diagramming, collecting, inventory, journal-keeping and sketchbooks, verbal/visual interplay and other expansive thinking processes. An introduction to the basic principles of semiotics in the interpretation of visual information will frame the student's understanding of how images communicate.

    Prerequisite: None
  • Drawing: Form, Space & Perspective As a fundamental means of articulating visual ideas, the practice of drawing is crucial to Illustration. Through direct observation students in this class will develop the ability to coherently represent objects in space, with a particular emphasis on perspective as a means of organizing space, establishing point of view and expressing ideas. Creating convincing illusions of light, depth, surface, volume and other perceptual attributes will be explored. Weekly exercises in class will be complemented by homework assignments, which encourage continual practice and a deeper comprehension of material covered in class.

    Prerequisite: None
  • Materials & Techniques for Illustrators Illustrators make use of a vast array of tools and mediums for their work. Developing a fundamental understanding of the physical properties of mark-making tools, substrates, and the physical construction of images expands creative possibilities. While the program's more advanced technical workshops afford additional depth of study, this class exposes students to an array of materials, tools and processes common to image-making, which may include acrylics, gouache, casein, watercolor, markers, crayons, colored pencil, pastel, tabletop printing techniques, scratchboard and ink.

    Prerequisite: ILUS101 2D Design & Fundamentals of Color, and ILUS121 Drawing: Form, Space and Perspective.
  • Illustration in Context Audience & Application Building on the fundamental exercises in IILUS000 Introduction to Illustration: Visual Thinking, this class contextualizes the ideation process in applied projects by exploring considerations of audience (the intended recipient of visual communication, with demographics in mind) and application (the purpose of illustration within professional categories such as editorial, scientific, or children's book illustration). Enhancing student sensitivity to audience and application is central to all assignments.

    Prerequisite: ILUS111 Introduction to Illustration: Visual Thinking.
  • Anatomical Figure Drawing Because the human figure is such an integral component of most narrative art, consideration of the human form in perspectival space is central to the course of study in Illustration. This class continues exploration of the principles learned in ILUS 000 Drawing: Form, Space & Perspective, by introducing the basic study of human anatomy, including skeletal and muscular systems. Relational description of the figure in space will be emphasized and students will develop an understanding of the principles of foreshortening, implied physical energy and movement, uses of figuration in pictorial narrative and increased fluency in figurative drawing from imagination.

    Prerequisite: ILUS121 Drawing: Form, Space & Perspective.
  • Painting: Light, Color & Matter This representational painting course introduces students to the versatile medium of oil painting and to various traditional oil painting techniques. Color, light, form, volume, space, perspective, the figure and other basic concepts are addressed and explored. Painting from direct observation, students will apply their fundamental knowledge of color, the elements and principles of design, and basic understanding of perspective in pictorial space toward compelling pictorial representation. Reinforcing skills in the construction of engaging visual narratives.

    Prerequisites: ILUS101 2D Design & Fundamentals of Color, and ILUS121 Drawing: Form, Space & Perspective.
  • History of Illustration Illustration has a long and rich history, and this course surveys the history of pictorial communication, from illuminated books through contemporary developments in the field. The class considers the symbiotic relationship between illustration and culture, with particular attention to the way the art form impacts popular opinion, thereby fueling political, social and cultural developments in society. Attention is dedicated to the pivotal role of evolving technologies in the fabric of visual culture and the way in which media, tools, techniques and technology have influenced artistic choice. The relationship between Illustration and Fine Art is also explored, with investigation of the sometimes obscure boundaries between Illustration and Fine Art disciplines.
  • Text to Image I The visual interpretation of non-fiction texts—from simple verbal prompts such as idioms and quotations, to contemporary essays and memoirs—is the focus of this class. Students will renew their exposure to the history of the field in the review of illustrated texts throughout history, and will examine the relationships between verbal and visual language, including the use of tropes, grammatical structure and dramatic tone. One or more projects will involve the use of student writing as a prompt for illustration.

    Prerequisite: ILUS141 Illustration in Context: Audience & Application.
  • Digital Illustration Survey The processes employed by contemporary illustrators inevitably involve the use of technology, to some extent whether bound up in the image-making workflow or in managing the commercial aspects of illustration. This class provides an introduction to the most relevant software applications use by practitioners in the field—The Adobe Creative Suite, including Photoshop, Illustrator and InDesign, and Corel Painter. At the same time examines, in the form of class discussions and assignments, the profound presence of digital media and communication in contemporary life, as well as its impact on perception, ethics and professional practice.

    Prerequisite: ILUS141 Illustration in Context: Audience & Application.
  • Technical Workshop: Mixed Media, Collage & Assemblage Experimentation with the intersection of many mediums, materials, tools and techniques is the emphasis for this workshop. Exemplary work by influential collage, mixed media and assemblage artists will be introduced, with particular attention to gestalt principles in picture-making and the creative opportunities which arise from combining disparate sources of visual materials.

    Prerequisite: ILUS131 Materials & Techniques for Illustrators.
  • Text to Image II Text to Image II continues visual interpretation of written texts begun in Text to Image I, but with an emphasis on works of fiction as source material. Cover and interior illustrations for fables, mythology, classical literature, children's books, short stories, novels, plays and other written works of fiction will be approached throughout the semester, and students will once again write their own material, preparing them for the possibility of work as author-illustrators.

    Prerequisite: ILUS171 Text to Image I.
  • Series Illustration Series Illustration is concerned with the creation of groups of related images arranged in temporal or spatial orders of succession. This class involves students in the development of systems and series of illustrations—projects characterized by multiple different, yet related, pictorial iterations on formal and conceptual themes. Design principles such as unity within variety are key to the experience in this semester, and practical problems addressing series-oriented content will be undertaken.

    Prerequisite: ILUS171 Text to Image I.
  • Sketchbooks & Visual Journalism Visual journalists meaningfully combine text and image to convey information about people, places and events, often documenting reality as it occurs. This class will broaden student exposure to life beyond their own social and cultural sphere, while reinforcing skills of drawing from observation, visual thinking and writing. Exhaustive sketch-booking, followed by deliberate synthesis of materials into a coherent journalistic statement, will be at the forefront of course activity.

    Prerequisite: ILUS171 Text to Image I.
  • Digital 3D Graphics for Illustration This course offers an introduction to the technical and creative processes associated with digital 3D illustration. Among the topics explored are modeling, texturing, lighting and composition for illustration and the design of effective low-polygon forms, texturing and UV mapping. Software used for the class will include Photoshop, Maya and 3DS Max.

    Prerequisite: ILUS181 Digital Illustration Survey
  • Introduction to Typography Typography—the design of communication using words in space—has long partnered with Illustration in the communication of complex ideas and information. This class introduces Illustration students to the fundamentals of Typographic Design. Anatomy of letterforms and typographic features, design vocabulary and processes associated with type design, an overview of type fonts and families, the history of the art, and a sequence of exercises involving incorporation of type and image will enhance the Illustrator's appreciation and understanding of typography as a primary contextualizing element for pictorial communication. This class may be well-complemented by HATM231 History of Graphic Design or HATM301 History of Design, which are also offered in semester five.

    Prerequisites: ILUS201 Text to Image II and ILUS181 Digital Illustration Survey.
  • Visualizing the Sciences Building upon the knowledge gained in Social and Natural Sciences coursework, this course is centered on the partnership of visual communication and the sciences, addressing visualization problems for Physical Science, Life Sciences, and Social Sciences. By interpreting and representing data, physiological phenomena associated with scientific inquiry and discovery, students will be expected to develop eloquent and objective representations of quantitative information, ultimately rendering complex information more readable.

    Prerequisite: ILUS221 Sketchbooks and Visual Journalism.
  • Technical Workshop: 3D Illustration Illustration need not be limited to two dimensions. This technical workshop presents a series of illustration projects which will introduce materials and methods of illustrating in three-dimensions. The range of conceptual possibilities expand rapidly with the use of materials such as paper clay, plaster, Sculpey, wood, paper, latex, fabric, and plasticine. Character and model-making puppetry, lighting and photographic representation of student work will be significant parks of the course activity, and the course will survey the work of contemporary sculptors and 3D illustrators.

    Prerequisite: ILUS191 Technical Workshop: Mixed Media, Collage & Assemblage.
  • The Illustrator in Society Illustrators are empowered with considerable talent to influence popular opinion, and the outlets for editorial and political illustration remain vast, particularly with the expansion of the Internet in the transmission of news and information. In this class students reflect on the role of the illustrator as public intellectual and member of society. Problems in Editorial Illustration, promoting political commentary, philanthropic enterprise, illustrating for non-profit, and engaging in cultural criticism become the focus of studio work, as the student engages in a powerful partnership with editorial and political content.

    Prerequisite: ILUS201 Text to Image II.
  • Self-Publishing: Comics & Zines This class introduces the basic concepts and approaches to self-publishing for comics and zines. After planning, writing, illustrating and designing a small-circulation project, students will pursue outlets and audiences for publication and distribution and will learn firsthand the processes and practices associated with self-publishing. Hand-binding techniques, inexpensive reproduction methods and effective means of distribution will be explored, and the history of self-published, illustrated projects will be reviewed throughout the semester.

    Prerequisite: ILUS201 Text to Image II.
  • Hybrid Imaging: Science Fiction & Fantasy Illustration Planet Earth is home to 8.7 million species, and yet we remain intrigued by the fantastic possibilities of life beyond the familiar. This class encourages the amalgamation of both the real and the unreal, of the living and the "might be living," of observation and imagination. Drawing and painting from direct observation is combined with fantastic visual musings in this class, serving as a foundation for Science Fiction and Fantasy illustration. Exposure to the leading Sci-Fi and Fantasy artists of today as well as a review of seminal artists of the genre will be featured throughout the semester, and students will create a variety of characters, environments and objects born at the intersection of imagination and reality.

    Prerequisite: ILUS201 Text to Image II.
  • Pictorial Personae: Modes of Characterization The ability to create a likeness is a highly prized and carefully cultivated skill which is frequently used in publishing and other illustration outlets. This class explores different modes of characterization in the representation of personae—from caricatures of political personalities to flattering portraits of the famous and incisively critical depictions of the infamous. The tradition of illustrating personae is as old as storytelling itself, and developing a character whose visual characterization is a convincing companion to the author’s conception is often a rewarding challenge. This course will have students creating unique visual personifications of well-known characters from history, literature and popular culture.

    Prerequisite: ILUS201 Text to Image II.
  • Illustrating for Interactivity E-Books and the pervasive migration of content to the web have revolutionized the way we interact with information—both written and visual—introducing motion, sound, time and new forms of sequencing for an unprecedented level of engagement between author, medium and audience. Utilizing the foundational knowledge provided in NASC351 Coding in semester five, this class enables the development of E-Book and Web-based projects while examining the social and cultural impact of interactive visual communication.

    Prerequisites: ILUS181 Digital Illustration Survey and NASC351 Coding.
  • Character & Concept Art for Entertainment The broadening scope of opportunities for illustrators in the entertainment business—from visualizing the atmosphere, assets and characters who populate games to concept art for animated and live action films—provides fertile ground for this class. Students will pursue a series of assignments which encourage a closer look at creative possibilities and design decisions in narrative games and time-based art, producing a large volume of visual ideas from blue-line sketch to finished illustrations. Relevant issues such as color design, presentation methods, storyboarding and communicating narratives will be addressed, and an overview of important developments in the profession will be included in the course.

    Prerequisite: ILUS301 Pictorial Personae: Modes of Characterization.
  • Thesis Development Preparation for the student's culminating studio project, scholarly research and final exhibition are the focus of this course, which is instrumental in defining the theoretical and practical parameters of a sizable project and starting work which will be completed in semester eight. Pursuit of a manageable yet challenging set of creative goals will begin as students submit a 10-20 page written plan, launching research into creative precedents related to their goals and objectives, and outlining an approach to successfully complete the work for Thesis & Exhibition.

    Prerequisites: All coursework prior to Semester Seven.
  • Building a Portfolio The ideal illustrator's portfolio represents an excellent body of work which presents a cohesive statement about creative potential and professional aspirations, and an illustrator's prospects are only as good as the evidence of accomplishment provided. The portfolio must be a dynamic means of defining creative identity. This course assists students in culling and refining exemplary work from their existing collection of projects, augmenting that collection with the production of new work, and finding a place in markets of their choice. Emphasis on developing a unified statement through professional quality work—both formally and conceptually—will be the goal.

    Prerequisites: All coursework prior to Semester Eight.
  • Entrepreneurial Business Practices for Illustrators Illustrators have always been entrepreneurs, as evidenced in the vast array of emerging markets the professional community has generated. The most successful illustrators don't wait around for work. They initiate projects and ideas, engaging in energetic self-promotion, exploring untapped markets, developing products and services that transcend the traditional definition of "Illustration" and dedicating themselves to creating opportunity where none is thought to exist. This class examines legal, business and entrepreneurial dimensions of an Illustration career, featuring expertise from visiting illustrators, art directors, publishers, and other industry creatives, and provides case studies that inspire and propel ideas. Students will engage in the development of a business plan for their own practice, seek genuine outlets for their work, and begin to cultivate a professional network of peers and clients.

    Prerequisites: All coursework prior to Semester Eight.
  • Thesis & Exhibition During the final semester, Illustration majors complete thesis projects begun in semester seven, and a group exhibition at the end of the term will feature work from the entire cohort of students. Having developed a clearly articulated set of thesis objectives and an outline for the thesis paper in semester seven, students submit to ongoing critical feedback from peers and faculty, engage in critical dialogue about their work as it nears completion, plan all aspects of their final exhibition and complete a comprehensive, thoroughly documented, well-researched thesis paper, 10-20 pages in length. The thesis will be presented to the student's committee, a review panel consisting of the Illustration Department Head, the student's individual Thesis Advisor, faculty from semester seven's Thesis Development class, and members of the Core Faculty.

    Prerequisites: All coursework prior to Semester Eight.
  • Professional Project This practicum involves identifying and pursuing one or more illustration projects in a group studio setting. Teams of students are guided toward professional interaction with clients, engaging in meetings to receive client briefs, developing working relationships with clients, art directors and other student collaborators, defining goals, establishing calendars and deadlines, presenting ideas from sketch to finish, and completing projects to professional standards. Having finished professional, "real-world" assignments, students will have taken the first steps toward emergence in the professional arena, and will complete their education with the added dimension of true professional experience.

    Prerequisites: All coursework prior to Semester Eight.

Dates & Tuition

Fees Per Semester

Tuition: $12,000 (USD) +
Lab Fee: $500 (USD)

Students will also incur additional expenses on their own productions. This varies depending on how much film they shoot and scale of the projects.

Location & Available Dates

For Los Angeles:
January 2017 - January 2020
September 2017 - September 2020
January 2018 - January 2021
September 2018 - September 2021

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