Arco “Rewards Center”

Arco “Rewards Center”

Arco “Rewards Center”

Art Dept Manager | Set Builder

Ancient Order

2025

Project Synopsis

In this playful ad campaign for Arco gas stations, we brought to life Hanna the Dashboard Hula Girl and her team of brilliant scientists as they invented a delightful “rewards” system hidden within the gas pumps, transforming a mundane refueling experience into an enchanting journey.

Over the course of four weeks, the team at Ancient Order of the Wooden Skull meticulously crafted miniature sets that captured the intricate inner workings of a gas pump, infused with a captivating industrial design flair.

Each detail was a labor of love, blending whimsy and creativity to invite viewers into a world where every fill-up unlocks a little magic and joy.

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Rewards Matrix

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Assembly

The assembly of the Rewards Matrix set was a thrilling journey through creativity and resourcefulness, as I brought together an eclectic mix of 3D-printed components and found treasures sourced from the local electronics store. With a vision to capture the essence of an industrial gas pump, I meticulously crafted each piece to evoke a sense of gritty authenticity, complemented by tubes filled with rich amber gasoline that pulse with energy in the background.

The entire set gleams with a metallic chrome finish, reflecting light and adding to the illusion of a bustling, high-tech environment. This playful endeavor not only challenged my skills but also ignited a sense of wonder, as I transformed everyday materials into an enchanting visual narrative.

Black Paint

As I watched everything transform into a deep, matte black before the final chrome finish, I couldn’t help but marvel at the striking contrast it created against the vibrant hues of the sandy backdrop. The subtle textures and shapes, cloaked in shadow, revealed an unexpected beauty that was almost mesmerizing.

Each piece exuded a sense of mystery and depth, making me momentarily wish we could pause time and celebrate this captivating phase before the gleaming polish took over. It felt like a playful dance between dark and light, a visual exploration that stirred my imagination and invited endless possibilities.

Close Up

As you explore the intricate details of the Rewards Matrix set, you’ll find a captivating array of machines and gas tubes that invite curiosity and awe. Each close-up photograph reveals the thoughtful craftsmanship behind every knob, bolt, and tube, showcasing the delicate balance between function and whimsy. These elements, meticulously assembled, contribute to a visual narrative that transforms the ordinary into the extraordinary, embodying the spirit of innovation and playfulness that defines our project. The gleaming surfaces and intricate designs invite you to imagine the stories behind this vibrant world, where each detail serves a purpose in the enchanting experience we sought to create, making the mundane act of refueling a delightful adventure.

Shoot

Amidst the chaotic energy of the set, the Arco commercial shoot unfolded like a whimsical adventure, where we dove into a fantastical world hidden within a gas pump, filled with surprises around every corner. The excitement was palpable as massive camera rigs soared through the air, weaving in and out while we made quick adjustments, transforming our envisioned scenes into vibrant reality.

As the lighting team breathed life into the miniature set, illuminating every carefully crafted detail, I felt a sense of awe watching Hanna the Dashboard Girl sway in sync with the rhythm of the production. Each moment was infused with joy and creativity, a reminder that even the most ordinary experiences can be transformed into something extraordinary with a touch of imagination and teamwork.

Fusion Reactor

Step into the world of the Fusion Reactor, a stunning creation by George Metaxis that seamlessly marries art and engineering. This remarkable set features large reactors designed to fuse objects in a mesmerizing display of innovation and craftsmanship. With each intricate detail meticulously crafted, the fusion of form and function draws your gaze, inviting you to explore the captivating mechanics behind this site of wonder. As the reactors hum with energy, they transform the ordinary into a realm of limitless possibilities, evoking a sense of awe and curiosity about the alchemy of creation. Here, imagination meets reality in a vivid testament to the power of artistic vision and technical prowess.

Fuel Testing Lab

Welcome to the Fuel Testing Lab, an ingenious creation by Greg Pinsoneault that brings the world of scientific experimentation to life in a captivating way. Imagine the thrill of watching a real working conveyor belt, humming with energy as it transports ideas and innovation. This unique space features an elaborate funnel system, where vibrant apple juice flows through transparent tubes, playfully mimicking the look of gasoline traversing through tanks. With every detail meticulously designed, the lab becomes a playground of imagination, inviting you to explore the seamless blend of artistry and engineering while celebrating the whimsical spirit of invention that fuels our journey.

Command Center

Step into the vibrant heart of imagination with the Command Center set, a captivating marvel brought to life by Jed Voltz, where creativity knows no bounds. This grand centerpiece showcases an intricate design brimming with energy and excitement, highlighted by the dramatic drop of a shimmering disco ball that encapsulates the spirit of celebration and adventure. As the backdrop for Hanna the Dashboard Girl’s escapades, this set weaves together whimsical elements and meticulous craftsmanship, inviting viewers into a dynamic world where fun and functionality collide in a dazzling display of artistry. Each corner of the Command Center whispers stories of innovation, beckoning you to explore a universe where the ordinary becomes extraordinary and every detail is a testament to the magic of storytelling through design.

Painting

Amber Padgett took the lead as the painter on this ambitious project, rallying her team to breathe life into every set with tireless dedication and an eye for detail. They transformed each piece through a meticulous spray-painting process, ensuring that every brushstroke gleamed with shiny perfection. The effort culminated in a vibrant display that not only showcased their artistry but also captured the essence of the imaginative world created for the Arco campaign, turning each set into a visual feast that harmonized creativity and craftsmanship.

The Shoot

As the cameras rolled, the atmosphere was electric with anticipation, where each shot captured the vibrant spirit of our meticulously crafted miniature worlds. With laughter and collaboration as our soundtrack, we embraced the challenge of bringing Hanna’s Rewards Center to life, transforming our imaginative designs into a playful reality. It was more than just a shoot; it was a delightful dance of creativity, where the convergence of art and film harmonized to reveal the enchanting stories hidden within the gas pump, reminding us that each frame holds the potential for magic and wonder.

Olipop Holiday Commercials

Olipop Holiday Commercials

Olipop Holiday Commercials

Art Dept Manager | Model-Maker

Screen Novelties

2024

Project Synopsis

In a frosty wonderland where joy and laughter swirl through the air like snowflakes, Oli and Pop, our lovable yeti duo, embark on a heartwarming mission to share the magic of Olipop’s holiday flavors with the townsfolk.

This enchanting tale transports viewers to a charming Scandinavian-inspired village, where the vibrant colors and whimsical designs of our meticulously crafted sets and puppets come to life, creating a festive atmosphere that beckons everyone to join in the celebration.

As the yetis navigate through their snowy landscape, spreading cheer with every bubbly sip, audiences will be captivated by the artistry and creativity that brings this delightful story to the forefront, reminding us all of the warmth and connection that the holiday season inspires.

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Mock-Ups
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Set Build
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Set Dressing
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Product Shots
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Final Shots
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Behind the Scenes Gallery
Commercial

Spongebob & Sandy’s Country Christmas

Spongebob & Sandy’s Country Christmas

Spongebob & Sandy’s Country Christmas

Art Dept Manager

Screen Novelties

2024

Project Synopsis

In this enchanting Spongebob Squarepants Christmas holiday special, we dive into the whimsical world of Sandy the Squirrel, brought to life through the magical lens of stop motion animation reminiscent of the beloved Rankin/Bass style.

As the Art Department Manager, I had the privilege of overseeing the intricate design and creation of elaborate sets and props that shaped this festive underwater adventure. Collaborating with the talented team at Screen Novelties, we crafted scenes filled with charm and nostalgia, capturing the holiday cheer in Bikini Bottom.

Each movement of Sandy and her friends was paired with a vivid backdrop, where every detail—from twinkling lights to playful decorations—was carefully curated to ensure the spirit of Christmas resonated in every frame.

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Set Build
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Sandy’s family pose for a photo op in the the Jalopy Sleigh, one of our most ambitious builds.

Sandy’s Dome

Sandy’s Dome is a captivating miniature set that brings the underwater world of Sandy the squirrel to life, showcasing a vibrant dome nestled around a majestic tree. This enchanting environment was meticulously crafted, drawing inspiration from the original sketches for Spongebob Squarepants, and transformed into a tangible experience using large sheets of plexiglass and a blend of innovative techniques. Each detail adds to the charm, from Sandy’s expertly designed lab equipment to the lush green boucle fabric that mimics grass, and the whimsical airlock door that Sandy uses to enter her home. Delicately dyed sponges serve as tree leaves, further enhancing the whimsy of the scene, and together, these elements create a delightful homage to Sandy’s underwater adventures, embodying creativity and craftsmanship in every inch.

Int. Krusty Krab

As we journeyed to recreate the beloved Krusty Krab, builders Hilary and Charles poured their hearts into every detail, ensuring this beloved restaurant felt authentic and vibrant. From the meticulously crafted oversized wooden planks that echo the charm of the show to the expertly woven nautical ropes that add a touch of the sea, every element was designed to transport visitors into the animated world. The colors were chosen to reflect the whimsy of Bikini Bottom, capturing the nostalgia and magic that fans adore. The added Christmas decor added holiday cheer to the iconic cartoon eatery. With this stunning set, we invite you to experience the collective joy that the Krusty Krab brings, right here in our vibrant reality.

Circus

When Sandy’s family rolls into Bikini Bottom, her dome transforms into a dazzling circus wonderland, filled with laughter and awe-inspiring feats that leave the townsfolk breathless. Our team embraced this enchanting vision by constructing a vibrant spectacle, showcasing a thrilling motorcycle ramp designed by the talented John Joyce, where daring stunts take center stage. The expertly crafted cannon, modified Evel Knievel motorcycle, and a fiery wreath add a touch of spectacle and danger, capturing the magic of circus life in every corner of Sandy’s dome. As the performances unfold, the air buzzes with excitement, making it clear that this circus isn’t just a show; it’s a celebration of creativity, craftsmanship, and the sense of wonder that only a family of performers can bring to the underwater world.

Diorama Stump

At the heart of our captivating set lies a meticulously crafted replica of a tree stump, enlarged to its grand proportions to create an immersive experience. This enchanting diorama showcases a whimsical old western town populated by pioneer squirrels, each represented by the exquisite whittled carvings of the talented Joe Schmidt. As the builder of this set, I not only planned and carved the intricate details but also enjoyed the thrill of puppeteering the elements during the final shot, bringing to life the stories of these charming forest inhabitants.

Trees

Ellen Coons and Meghan Graham were our tree team, passionately transforming the heart of our production into a vibrant forest scene where imagination takes root. Their expertise shone through as they meticulously crafted Sandy’s tree inside the dome, employing a unique technique that transformed sea sponges into lush, green leaves, while the bark was artfully sculpted from rolled craft paper and wood glue, blending innovation with artistry. Painter Kathryn Evans joined the creative ensemble, her brush bringing color and life to the trees and backdrops, adding depth to the enchanting world we designed. Together, they wove a tapestry of creativity that not only showcased their skills but also invited viewers to step into a whimsical wilderness where every detail tells a story.

Patrick’s Bedroom

The creation of Patrick’s bedroom was a delightful, if somewhat harrowing challenge. Carved meticulously from EPS foam and enveloped in a tactile layer of sand, the final set resembles a charming sandy haven. I took on the exciting challenge of sculpting the bed, while guiding the team through the intricate process of seamlessly covering the set with real sand. Working against the clock as the glue dried faster than we could apply the material added an exhilarating twist to our efforts. Crafting the sand mounds and ensuring the edges blended beautifully was not just a task, but a fun adventure that allowed our creativity to flourish and truly bring Patrick’s space to life.

Jalopy Sleigh

From a charming sketch by our story artist Cosmo Segurson, to a masterfully crafted vehicle brought to life by master builder John Joyce, the Jalopy Sleigh was one of our most exciting builds. After breaking Santa’s Sleigh, Sandy’s squirrel family must rebuild it to save Christmas. The result is a hilarious homage to the Beverly Hillbillies, as the famil putters around Bikini Bottom delivering presents in a cute musical number. The challenge lay not only in the intricate design that required accommodating eight animated puppets but also in crafting a light yet sturdy structure suitable for our motorized rig. I took on the challenge of recreating a half-finished version of the jalopy for the montage sequence when it gets built.

Set Dressing
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The exterior of the Krusty Krab, an iconic set dressed to perfection.

Ext. Bikini Bottom

Each episode of Spongebob Squarepants opens on the well-known town of Bikini Bottom. And in our episode, the holiday spirit glimmers in the intricately crafted decorations adorning the iconic sets. With the keen eye of Production Designer Aron Bothman, we transformed the familiar landscape into a winter wonderland, infusing it with layers of vibrant coral and charming mini buildings, all meticulously designed and 3D-printed to capture the essence of this beloved underwater town. The adventure of layering softly glistening snow on the ground brought an exciting challenge, revealing a breathtaking backdrop that sets the stage for the whimsical tale of Spongebob, Sandy and their friends.

Ext. Krusty Krab

The Beach Hangout is a special part of the island, and an important set for the show. The Shapes share hot chocolate there, watch sunsets and sunrises there, picnic and cavort there. The challenge with this was to make it iconic, by keeping it very simple, but just decorated enough to breath life into the relaxing beach setting.

The lightly undulating sand is coated with a salmon pink and then coated with a brilliant white coat of sand, giving the beach a shimmering quality. Combine that with a few well-placed, elegant palm trees and some massive rocks to break up the background composition, and you’ve got the makings of an iconic setting where anything can happen.

Krusty Krab Musical

Inside the Krusty Krab, the atmosphere turns electric as Sandy’s family takes center stage, delivering a toe-tapping country musical number that brings a taste of Texas to Bikini Bottom. To elevate the theatricality of this vibrant production, our talented team transformed the set with colorful painted flats and a delightful array of country props, inspired by the charm of classic 70’s variety shows like Hee Haw. Set Dresser Alex Steele meticulously crafted an inviting scene that not only paid homage to the spirit of country music but also infused the beloved eatery with a festive flair, ensuring that every note sung resonated with joy and nostalgia.

Tree Fall

In this whimsical episode, Santa’s jolly ride took an unexpected nosedive as his sleigh crashed into a towering Christmas tree, and we embraced the challenge of bringing this playful chaos to life. Crafting a set with a dynamic rolling backdrop, we designed a series of tree bark elements using innovative inside-out cardboard techniques that created the illusion of Santa’s thrilling fall. Our meticulous construction featured four distinct tree pieces mounted on sliders, allowing for a captivating up-and-down motion that enhanced the visual storytelling. I personally took charge of building the rolling backdrop, integrating rotating poles that simulated action lines, making it appear as if the world was rushing by as Santa tumbled. Costumer and Seamstress Carol Binion helped me by sewing the backdrop together in a loop.  To top it off, I adorned the tree branch with bits of broken sleigh debris, transforming the scene into a delightful spectacle of holiday mischief that truly captures the magic of the season.

Minis
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Co-Director Mark Caballero and Animation Director Alfonso Estrada manipulate the mini tree to get a tricky forced-perspective shot.

Mini Props

The mini props crafted by Edlyn Capulong became a delightful addition to our project, showcasing how something so small can make a big impact. Each tiny creation was designed not just for charm but also for detail, ensuring they looked stunning up close on camera. These whimsical pieces enhanced our already miniature world, adding layers of creativity and playfulness that made every scene feel even more enchanting.

Mini Dome

To truly capture the essence of Sandy’s world in a wide shot, we embraced the challenge of scaling down the grandiosity of our set into a miniature masterpiece. Collaborating on the design of a 9-inch half-sphere, we crafted a versatile dome that could glide on and off stage, secured by magnets for effortless transitions. Inside, we carefully curated an array of intricate props, each one meticulously placed to enhance the visual storytelling. This blend of creativity and engineering not only elevated the production but also allowed us to breathe life into our puppet character against a backdrop that felt both expansive and intimate, showcasing the limitless possibilities of imagination in our craft.

Atoll Island

As the curtains rise on our vibrant atoll island, we set the stage for whimsical antics, introducing a delightful marionette puppet to capture hearts and ignite laughter. This playful mini build infused the show with a splash of nautical charm, conjuring a lighthearted atmosphere that invites audiences to lose themselves in imagination. With its intricate strings and endearing quirks, the puppet not only enhances the storytelling but also embodies our spirit of creativity and fun.

Managing the ARt Department
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Art Dept Manager Evan Koehne, Production Designer Aron Bothman, and Production Manager Casey Folen share a moment in the Shop.

Running the SHop & Supervising Builds

I have created an interesting niche for myself in the Stop Motion Animation industry. As a builder, I’ve gained a lot of hands-on knowledge about how to make set and props. But I also know how to direct people and run a shop, and I’m pretty good with schedules. So I find myself spending half my time thinking about the overall picture, scheduling to make sure deadlines get met and my builders have the right supplies they need, while also supervising some of the trickier builds that I can help with, and occasionally getting to gets my hands dirty and actually make something.

It’s a fun, delicate balance, but its all worth it when you see your hard work pay off in the amazing finished product that we all created together.

Behind the Scenes Gallery
Preview
Watch on Paramount+!

The Tiny Chef Show

The Tiny Chef Show

The Tiny Chef Show

Model-Maker

Tiny Chef Productions

2023

Project Synopsis

The Tiny Chef has been delighting fans on social media with his quirky accent and unique recipes. I got to work with him during his summer adventures, first on his wagon where he announced his latest plush toy, and next on the interior of his Ice Cream Truck.

Tiny Chef’s world is small but bright, and full of amazing gadgets. I’m constantly amazed at what he’s able to put together! It was a great opportunity to get to build things with him. Catch the Tiny Chef on instagram at @thetinychefshow !

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Builds
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PLUSHIE WAGON

The Tiny Chef needed to go out into the world and sell his brand new plush dolls. This is the travelling wagon he hawked his wares from. Constructed from lasercut MDF pieces, tongue depressors, and custom casted crayons. I took this build from start to finish, from construction, painting and dressing.

Final Design

I was very proud with the final build of the Wagon. The primary colors helped the whole thing pop, and the lights installed along the back wall lit up to create a very pleasing look! I also loved the yarn that connected the Crayon poles.

The Tiny Chef was able to use his best salesman voice to sell his plushie dolls, seen in this photo. I was able to use it for lots of great instances as he continued to sell his merchandise.

 

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INT. SHAVED ICE TRUCK

I helped fabricate and build the interior of The Tiny Chef’s Shaved Ice Truck as well. Imagined as a kind of Airline RV Shell, the inside mimics stainless steel and wood grain design. I especially loved mixing all the dyes to create a rainbow-hue layout of the chef’s shaved ice shelf. Everything the Tiny Chef does is unique and one-of-a-kind!

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Shape Island

Shape Island

Shape Island

Art Dept Manager | Model-Maker

Bix Pix Entertainment | Apple

2021-2022

Project Synopsis

Based on the beloved series of children’s books by Jon Klassen and Mac Barnett, “Shape Island” takes us to the whimsical land of three shapes: Triangle, Circle, and Square, as they explore their home and learn more about each other.

As a fan of Klassen & Barnett’s work, I was extremely excited to come on to this project. As a model-maker, I got to create beautiful props for the titular shapes. I wore many other hats throughout the production: set builder, terrain expert, prop master, and set dresser, to name a few.

Halfway through the show I became the Art Dept Manager, keeping track of the upcoming shots and communicating to the Art, Puppet, Animation and Rigging departments, staying ahead of our production timeline.

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TERRAIN

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"GROUNDS" MASTER

At the start of this production, I was put in charge of testing various methods to create the natural terrains of the entire show. This was a fun time of experimentation. There are a lot of tried and true ways that we use in stop motion to achieve certain looks, but they can sometimes start to look rote. We wanted to challenge ourselves to try something new, and make the “normal” things to be made in a totally new way.

For example, we experimented with using dyed wood chips and sawdust for our grass textures. I was in charge of the early tests to determine the proper look and scale of this important terrain texture. In the end we ended up using a combination of both, dyed green and yellow, to achieve the grass at various different scales.

EARLY SAND TESTS

The shapes spend a lot of time on the beach and other sandy environments. The perks of living on an island! It was important to nail down the specific look of the sand early on, because it was going to be used throughout the show. I did a lot of experimentation dying sand various colors to see if we wanted to go for an impressionistic look. We even experimented with a very painterly look, trying to blend different colored sands together to create gradients on the ground.

THE GROUND

In the end, we usually covered the ground in natural sand and painted over it. But those tests were a proving ground and we ended up using a lot of the lessons learned in other aspects of the production!

I ended up gluing and coating most of the sets with sand due to my familiarity with the material. We opted for a very light coating, which meant I had to be careful in applying it to not get any area with a very obvious seem. This usually meant rotating entire foam set sculptures to let gravity do most of the work while the white glue and water mixture harden. Most of this was done outside in the middle of summer, so I didn’t have to wait long for the glue to set up!

ADDING DIRT AND GRASS

We had a lot of sets that required integrating dirt & grass onto the side of a mountain. The foam-carved set would get coated and painted with a rock texture, and then come to me for the terrain treatment. The process was fun because it had to be done in stages: applying the dirt, aging the dirt, adding and feathering out the grass, and finally adding any wood chips to fill in the corners of the set, imitating overgrowth in the forgotten corners of this nature path. The set dressing team did an incredible job adding the paper-cut carstock grass and fern elements. All of these pieces brought the environment of Shape Island to life.

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The naked (only paint) mountain path set

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Adding the fine dirt

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Feathering in the grass and adding ferns

The Mountain Path

All the little details coalesced on sets like these to create a natural environment that really felt lived-in, while adding a feel of a natural world that had been there long before our characters existed.

The tree in this shot had to have roots sculpted out of clay, and painted to integrate with the tree trunks. This was particularly challenging because there was a big time crunch to get the set launched. Half of the job in art department is working against the clock!

I’m very happy with the final result. We always challenged ourselves to get our sets to look both beautiful and natural, in that same way that nature itself is often chaotic and harmonious all at once.

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There was always something shot-specific we’d have to add after the fact. I built, molded and cast this rock-pile banister for a shot when Circle is running up the hill. We worked hard for the set dressing on Shape Island to look like they all came from the same world of natural, found objects.
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The rock pile banister, seamed together with clay and small pebbles

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We didn’t install the entire banner – the camera was never going to see everything!

SET BUILDS

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THE WATERFALL

The Waterfall was the first set on Shape Island that I took all the way from start to finish. Starting with the initial foam carving, to coating the surface with our dense expending foam, and continuing on into a round of plastic coating and terrain texturing, this one truly felt like i out my signature on it.

I also spent a decent amount of time figuring out how to do the water in the pond, and rolling down the mountainside. The waterfall itself is number of delicately poured, built-up layers of clear resin, combined with some lighting and VFX magic to make it appear in motion. The pond was a large piece of clear acrylic sheet, cut to fit exactly in a deep divot of the carved foam. We then painted to underside of the acrylic, to give it the illusion of surface depth.

The Set Dressing Team

On top of the incredible builders we had in the set shop, our on the floor we had the incredibly talented dynamic duo of Alexandra Steele and Bismak Fernandes putting the final, incredibly important details onto the set. The set dressing team is responsible for adding the finishing touches, and making sure everything looks super good in camera. These two worked tirelesly and with great dedication to install foliage, vegetation, tree, blocks, and everything else to breath life into this make-believe island.

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The Dream Team: Alex & Bismark

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A dense forest with set dressing galore!
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The forest bridge
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THE WINDING WOODS

Circle gets lost in the Winding Woods trying to chase down a rogue gopher. We had to come up with an ingenious solution for a set that would sell the idea of a densely-packed forest where you could feasibly lose your way, while also keeping the build parameters to a minimum. Our Art Director Jeff White’s solution was to create a kind of “Infinity Path” – a large elliptical path that wound back on itself. A berm on the inner part of the set made it so you’d never be able to see the other side of the path. This made it so we could film from a lot of different angles, and no part of the path would ever look exactly the same as another.

I was tasked with mocking up and building the infinity path. Another clever modification on this set: the top of the berm was designed with a puck in the middle, so it could come out and have extra trees planted inside of it (for the shots where the forest needed to appear even more dense than normal). There is also a separation point in the middle of the set, so it could be taken apart after shooting out our wide shots. This meant it could be used on two separate stages to shoot out our close ups and insert shots, doubling the amount of footage we could animate in a week.

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BEACH HANGOUT

The Beach Hangout is a special part of the island, and an important set for the show. The Shapes share hot chocolate there, watch sunsets and sunrises there, picnic and cavort there. The challenge with this was to make it iconic, by keeping it very simple, but just decorated enough to breath life into the relaxing beach setting.

The lightly undulating sand is coated with a salmon pink and then coated with a brilliant white coat of sand, giving the beach a shimmering quality. Combine that with a few well-placed, elegant palm trees and some massive rocks to break up the background composition, and you’ve got the makings of an iconic setting where anything can happen.

TREE TRUNKS

Most of our trees were skinny enough to be constructed out of a packing tube base or even a simple dowel rod, but some had to be massive to sell the scale of an old-growth forest. I carved these large tree trunks by cutting a MDF (medium-density fiberboard) templates, covering it with aluminum tape on the edges, and using them as a guide to cutting the shape out of 12″ diameter foam cylinders with a hot wire.

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PROPS & MODELS

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FOUNTAIN IN CIRCLE'S HOME

The fountain in the center of Circle’s home beneath a waterfall was a great centerpiece to fabricate. As a centerpiece to the whole house, it was important to make it feel cozy and secore.

After the mock-up phase, I created the fountain’s outer wall by building up layers of MDF and covering up the cracks with bondo. Inside the center is a mirror that we sprayed with dullcote and added a 1/2″ piece of plexiglass on top of. The tree is constructed from dowel rods and armature wire, with bondo filling in the cracks.

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BOARD GAME

Throughout the production, I was relied upon for my exactness on paper craft projects. Taking art created by Joseph Berryhill, I meticulously folded, glued and cut the pieces to the space-themed board game that is a central part of this episode. I also prepped the 3D-printed board game pieces with spray paint. The box itself has a top that can open, and is rigged so characters can handle it without ruining the box. It took a lot of trial and error to get the paper just right, but it was well worth it. I sometimes wish this was a real game so I could play it!

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Beauty shot of the Board Game Box

SET DRESSING

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SQUARELAND

Square’s part of the island was one of my favorites. It was a unique challenge to make a bunch of cubes look unique and interesting, but Production Designer Paul Harrod found the way to do it. I was lucky enough to help dress the set a number of times for Squareland, which involved a lot of intricate planning. We worked hard to make sure everything looked like it was embedded in the sand, like every cube had been on the beach for a long time, like ancient ruins.

CIRCLE'S GARDEN

The garden outside Circle’s cave was one of the most beautifull we got to create. By the time it was first seen on camera, so many of our artists had contributed to it. It was a truly collaborative project, requiring everyone’s skills to bring to life. Carpenters, sculptors, mold-makers, prop-fabricators, painters, and set-dressers all had something important to bring to this unique set.

I contributed to the garden’s grass and dirt mounds, working diligently and with a steady hand to create the well-manicured oasis.

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NICE HILL PARTY

This introduction to the episode “Triangle Day” was a cute little prop-fabrication assignment for me. Even small scenes like this one have lots of planning put into them! I was in charge of dressing the table, creating the flag banner above the table, and creating the transition from beach sand to grass. Yet another example of the care and attention we put into every single set.

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Working on the banner

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The finished, dressed table

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Note the tiny puck of beach sand in the corner

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