Marcel the Shell with Shoes On

Marcel the Shell with Shoes On

Marcel the Shell with Shoes On

Art Coordinator | Concept Design

Chiodo Bros. Productions

2020

Project Synopsis

In the beginning of 2020, I was asked to join the team producing a small independent movie based on Marcel the Shell, who I knew from the adorable YouTube shorts.

To introduce us to the project, some of the new hires and I were invited to watch the animatic. It had no animation, no visual effects, the roughest of rough storyboards, and no music, not even a temp track.

We all bawled our eyes out. We knew we were about to work on something special.

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Design Projects

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STOCKPILE ROOM

While on the show, I also got opportunities to design some of the sets that needed to be created. I put a lot of effort into getting the Stockpile Room right. I knew it wasn’t just a place where I could shine, but the art team who executed it as well.

Final Design

We arrived at the final design of the Stockpile Room after a lot of back and forth and various iterations. We really wanted to make sure it had a photo-real quality so the Director could get a feel for what we were trying to fabricate.

I took copious reference photos to craft the feel of this room. We had a lot of fun imaginging the details in Marcel’s little wall nook.

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PLANTER BOX MANDALA

After a particularly emotional moment in the movie, Marcel constructs a memorial in the planter box outside the house’s window. I was tasked with imagining some options for what it could look like, using only the fruits, vegetables and plants we had already created casts of. I usually illustrate my designs, so it was a fun challenge switching over to a realistic photo manipulation style.

Final Build

Designing the planter box mandala was a delightful journey of creativity and collaboration, where each piece felt like a tiny heartbeat adding to the overall rhythm of the design. As I envisioned the intricate layout, I had the joy of meticulously choosing and positioning each fruit, vegetable, and plant, watching my ideas blossom into a lively tribute that mirrored the emotions of the moment it represents. It was a fulfilling experience to see the thoughts and intentions materialize, transforming a simple planter into an enchanting centerpiece that encapsulated the essence of the story and the beauty of togetherness.

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FAMILY TREE VANITY

Designing the family tree that adorns Marcel’s vanity was a touching exploration of connection and memory, as I envisioned how each delicate branch could represent a cherished family member. With careful attention to detail, I imagined the pot as a sturdy foundation, symbolizing the love that anchors Marcel’s world. The task allowed me to breathe life into every aspect, from the intricate etchings that tell stories of joy and resilience to the placement of each character, creating a visual narrative that resonates with the heart. It was a privilege to weave together these elements into a heartfelt tribute, transforming the vanity into a meaningful reflection of Marcel’s lineage and the bonds that shape him.

MATCHBOX

In crafting the matchbox designs for Marcel the Shell, I tapped into a playful yet meticulous creative process within Photoshop, where the challenge was to create visually authentic matchboxes that appeared entirely brandless, evoking a sense of nostalgia and charm. Each iteration began with careful sketching and experimentation across a palette of color options, striving to capture the essence of real matchboxes while ensuring they blended seamlessly into Marcel’s world.

Art Coordinator

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As an art coordinator in the field of stop motion animation, my role is dynamic and exciting. From keeping track of upcoming shots to ensuring artists stay focused, I am the glue that holds the creative process together. I am responsible for ordering necessary supplies and ensuring the art director is well-informed about upcoming projects. With a keen eye for detail and a talent for organization, I help bring the director’s vision to life.

NANA CONNIE’S BEDROOM VANITY

In dressing Nana Connie’s bedroom, I sought to capture the warmth and nostalgia reminiscent of every cherished grandmother’s home, where small, everyday vanity objects intertwine to weave a story of love and comfort. The carefully selected trinkets—a vintage jewelry box, delicate porcelain figurines, and whimsically arranged hairpins—transform the space into a sanctuary of memories, each item inviting a smile and a gentle sigh. Softly lit by the glow of a thoughtful table lamp, the room embraces visitors with its pastel colors and lovingly worn fabrics, creating a sense of belonging that feels like a hug. Every corner whispers tales of laughter and wisdom, while the playful touches of everyday items remind us that beauty can be found in the simplest of moments, making Nana Connie’s bedroom not just a space, but a heartfelt reflection of family and legacy.

LAPTOP KEYBOARD

As Marcel navigated his miniature landscape, the quest for the perfect match for his MacBook keyboard unfolded like an adventure in itself, filled with unexpected interactions and delightful discoveries; the vibrant colors and textures of the surrounding environment served as inspiration, each keystroke resonating with the essence of his tiny world.

DUST TABLE

As we embarked on creating the enchanting ice-skating scene, my dressing team and I found ourselves in a delicate dance with dust, meticulously sprinkling just the right amount across the tabletop to evoke the illusion of shimmering ice. Each application required a gentle touch and an artistic instinct, as we deftly balanced the amount of dust to capture the perfect ethereal quality that would complement Marcel’s delicate world.

With every layer we added, we were not merely setting a scene; we were crafting a visual symphony that resonated with the heartwarming moments unfolding on screen, ensuring that every detail transported the audience to the whimsical charm of Marcel’s universe.

TRAILER

Crossing Swords – Season 2

Crossing Swords – Season 2

Crossing Swords – Season 2

Set Dresser

Stoopid Buddy Stoodios

2021

Project Synopsis

Crossing Swords is a ribald, medieval-themed show starring knights, kings and peasants that look like they came straight from a Playskool set. It’s irreverent take on swords & sorcery provided great opportunities to stretch my abilities as a set dresser.

The fast-paced production of Crossing Swords offered a great opportunity for me to fill in gaps in my Stop Motion toolbelt, and to feel confident dressing multiple intricately-decorated sets on a tight schedule.

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Set Dressing

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THE CIRCUS

Dressing the Crossing Swords sets was a new and interesting challenge for me. It was the first time I dressed sets with buildings and props I hadn’t built myself. While I thought this would be a big frustrating headache, it was actually very liberating. Having just recieved the elements of the set, I wasn’t hemmed in by pre-conceived notions of how the stages ought to come together, and with no familiarity or preciousness inherited from the building process, I found myself making bold choices and feeling out what worked for each setup.

The Circus was full of all kinds of iconic tents and props, and it was our job to bring the medieval ambiance to life. I enjoyed the challenge of switching a handful of buildings around to create the illusion that we were traveling deeper into the festival.

Inside the Tent

Acrobatics, Clowns, and Strong Men all had robust performances inside the main circus tent. This stage required constant re-dressing to accomodate for the various angles used to capture the puppets’ performances.

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Dressing can be very sparse if need be!

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Cotton Candy Stand

We spent precious hours dressing the sticks of cotton candy trying to get them to stick to anything and getting them at just the right angle. It goes to show you: You never know what’s going to cause a set-dressing headache. Sometimes the littlest thing causes the biggest problems.

JUNGLE TREEHOUSE

The treehouse that the King and Queen retreat to was one of my favorite stages to dress. The layers of tree trunks and palm frond foliage gave great opportunities to create intersting compositions. It got tricky to reach through the trunks once we had installed them all, but the trouble of reaching around was worth it to bring this unique set to life.

DRESSING ROOM

The dressing room had a lot of special pieces that needed attention. This one was fun to see a little peak behind the curtain.

FLOWER FIELDS

This flower field was the opening shot of season 2, so it was important to make it look great. It took a lot of experimentation to get the lines of red tissue paper to look great, but we took it as a great opportunity to do a lot with a little.

SNOW WHITE WOODS

One of the great cutaway gags in this show is to an unattended Snow White who is getting mauled by wild wolves. For this one-shot gag, we built and dressed a large part of the forest from scratch, and dressed the broken glass bed with red wax. It was a quick set up but ended up being one of my favorites.

TOWN SQUARE

The town square is the hub of activity in the land of Crossing Swords. Peasants and knights from all around seem to come to this spot to share news of the day. We had a lot of fun imagining what kinds of conversations the towns folk were having with each other.
There are so many small details to help build a town on a miniature scale. Set Dressing is almost always about the little details you include to build out the world. I was particularly tickled by the various band posters on the town’s post board, and the abandoned mugs of ale littering the town streets.

COLISEUM

Creating this crowd scene had a lot of great challenges. We were given a ton of generic townsfolk to litter the stands with, and lots of banners had to get put up. Decorating the walls with the occasional blood spatter also gave the Coliseum a sense of danger. I worked on this one alone, and since I couldn’t reach everything from the ground, I typically had to sit on the stage to do any kind of dressing.

Crossing Swords was a unique learning opportunity for me. It helped me get good fast at set dressing, and gave me insight into how to successfully time manage between multiple stages, as well as many of the build needs a set dresser must have to effecively do their job.

BEHIND THE SCENES GALLERY

TRAILER

The Patrick Star Show

The Patrick Star Show

The Patrick Star Show

Art Director

Screen Novelties

2021

Project Synopsis

I  supervised the build of the main set and props for this spooky segment of The Patrick Star Show. My team and I had a lot of fun envisioning how to combine the  nautical-themed, Spongebob-esque world with the classical Hollywood horror of the early “Frankenstein” films. The best part was that everything was painted monochrome to achieve the classic black & white look.

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The Living Room Lab

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The early foamcore mock-up of the set

BUILDING THE LAB

How does one make a giant Frankenstein-inspired lab? With lots and lots of giant blocks of foam. Pictured below, our sculptor Hiroe starts the process of cutting and sculpting these large blocks to become the walls of the Lab.

Carving the Foam

Once the foam has its basic shape, we put it back on the stage to see what else needed to get added. In some cases we had overhanging bits using expanding foam glue to stick a piece on that we couldn’t sculpt during the first phase. From here we move on to creating the stone tiles for the floor.

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Finished Set

As an homage to the early Frankenstein films, we wanted to have these segments be in black and white. One of the cool things we did was incorporating the black and white aesthetic into the set itself, actually painting everything with a grayscale color pallette. I’m very proud of the way it turned out, as it really pops on screen.

Set Pieces

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COUCH

It’s a central figure in so many TV shows: The Simpsons, Married with Children, All in the Family, going all the way back to I Love Lucy. The Couch must be great. I designed and built this one myself, going through a few rounds of notes and iterations with the Creative Directors to get the look just right.

Chopping the Couch

The couch had to get chopped in half, so a duplicate had to be made. It was fun pretending to take a chainsaw to it!

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OVERSIZED ARMREST

Sometimes puppets have to come in scales, which means sets need to accomodate them. In this case, Dr. Plankenstein had a different puppet that we used in Close-Ups, so the art department had to fabricate an equally larger portion of the couch for him to rest on.

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Sometimes you make a foamcore mock up and it’s not very good, so you just wing it.

MACHINES

We had a lot of fun designing and creating background machines that had that old school science-fiction feel. We incorporated real knobs and mechanical pieces from old appliances and electronics to add to the haphazard nature of these machines.
Taking inspiration from the classic Universal Monster movies, these had to feel as if they were from a very specific era. They had to look science-fiction-y, but not like they were from the future. I worked with my builders, giving notes on various designs to help bring it into the world of Patgor.

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OPERATING TABLE

Every monster needs a table to receive bolts of lightning from!

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LOGS

ROOF PIECE

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Props & Models

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SKULL DOOR

The lab’s door and skull-shaped handle were such a fun assignment, I had to take them on myself. The door was made from planks of MDF, and the skull door handle was sculpted out of epoxy resin.

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TV SET

ROTARY TELEPHONE

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POPCORN BAG

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POKER STICK

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CHAINSAW!

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BARRELS & CRATES

TRAILER

BLO’s The Fall of the House of Usher

BLO’s The Fall of the House of Usher

BLO’s The Fall of the House of Usher

Art Director

Ancient Order of the Wooden Skull

2020

Project Synopsis

During the later stages of the 2020 pandemic, productions were starting to get off the ground but large social gatherings were still prohibited. The Boston Lyric Opera was faced with a dilemma: They had comissioned a wonderful opera by renowned composer Phillip Glass, based on Edgar Allen Poe’s “The Fall of the House of Usher.” Rather than put it on as a stage production, they shifted gears and envisioned it as a hybrid animated piece to be streamed to their fans.

This macabre piece of social commentary holds a special place in my heart, as it was the first time I was hired to be the Art Director. We poured hours into the house, furniture, and everything else. I’m very proud of this dark masterpiece.

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Design Projects

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Various iterations of the design

DOLLHOUSE

Immersed in the haunting world of Edgar Allan Poe’s “The Fall of the House of Usher,” the experience of crafting a dollhouse miniature was both a labor of love and a journey into the gothic psyche. Each delicate piece—the creaking walls, the dimly lit corridors, and the intricate furnishings—was meticulously designed to evoke the eerie atmosphere of the poem. As colors bled into darkness and shadows danced across the handcrafted spaces, the dollhouse transformed into a character of its own, embodying the decay and despair that permeate Poe’s narrative. This project was not just about building a miniature; it was about capturing the essence of a tragic tale and breathing life into an artistic homage, creating a visual symphony that resonated with the very themes of isolation and madness that define Usher’s story.

WALLS, WINDOWS & CURTAINS

Even the simplest set piece has to be considered carefully. The interior of the dollhouse was deceptively simple: Flat walls to create long corridors. But even seemingly simple things have their challenges. These were a unique opportunity to make a macabre setting stand out with this Victorian era interior.

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LIVING ROOM + FURNITURE

In the heart of the Victorian dollhouse, the living room emerged as a captivating sanctuary of nostalgia, where each meticulously crafted piece of furniture told its own story. The art direction focused on infusing life into miniature armchairs and delicately carved tables, ensuring that the textures and colors resonated with a bygone era. Soft fabrics invited touch, while the play of light and shadow accentuated the intricate details, transforming the space into a stage where memories lingered. With every aspect, from the faded wallpaper to the whimsical trinkets on the mantel, we curated an atmosphere that echoed the rich emotions of Poe’s haunting narrative, allowing the living room to serve not just as a setting, but as a living entity that harmonized with the themes of melancholy and reflection woven throughout the tale.

BEDROOM

Nestled within the shadowy corners of the Victorian dollhouse, the bedroom emerges as one of the moodiest retreats, a canvas of muted tones and haunting elegance. Each sparse prop, from the worn velvet bedspread to a solitary porcelain doll perched on the dresser, carries the weight of unspoken stories, inviting whispers of the past to linger in the air. The dim lighting filters through lace curtains, casting intricate patterns on the creaking floorboards, creating an atmosphere thick with nostalgia and melancholy. Here, every detail is a reflection of solitude and longing, drawing visitors into a space where dreams intertwine with the eerie essence of Poe’s narrative, transforming the bedroom into a hauntingly beautiful sanctuary that encapsulates the soul of the tale.

DINING ROOM

In the dimly lit dining room of the Victorian dollhouse, shadows wove a tapestry of mystery around the long, elegantly set table, where every detail whispered stories of the past. Rich, moody hues enveloped the space, inviting intrigue as the flickering candlelight danced over meticulously crafted china and ornate silverware, each piece echoing the grandeur of a bygone era. Delicate lace curtains framed the foggy windows, filtering the outside world while the ambience thrummed with the weight of unspoken secrets. This was not merely a dining room; it was a portal to another time, an intimate gathering place where the echoes of laughter and the pangs of sorrow intertwined, capturing the essence of Poe’s haunting narrative and beckoning visitors to partake in the elegance and melancholy of the house.

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MAUSOLEUM

The mausoleum was a captivating achievement in set dressing, embodying the essence of abstraction through its flat walls and moody paint that seemed to absorb light rather than reflect it. We embraced the somber tones and textures, crafting a space that felt like a melancholic dreamscape, whispering tales of loss and remembrance. Each detail, from the stark angles to the shadowy corners, was curated to evoke a sense of solitude, inviting viewers into a world suspended between reality and the ethereal. This unique environment served not just as a backdrop but as a powerful character itself, enhancing the emotional weight of the narrative while echoing the timeless themes of decay and nostalgia that permeate the haunting story.

MUSIC BOX

Constructing and rigging the oversized music box was a meticulous endeavor that demanded both precision and creativity to mirror the enchanting details of its smaller counterpart. Each intricate element was carefully crafted, ensuring that the delicate aesthetics resonated with the original design while accommodating the technical requirements necessary for the performance. Integrated rigging and dynamic lighting were essential to facilitate a captivating dance for the twelve-inch tall puppets that would enchant the audience within this mechanical wonder. As the puppets twirled in the heart of the music box, the interplay of light and shadow created an atmosphere rich with whimsy, transforming a simple mechanism into a stage that echoed with melodies of nostalgia and artistry.

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The Oversized Music Box before paint.

This project proved to be a challenge in the most fun way possible. Bringing a Victorian manor to life in service of Edgar Allen Poe’s famous work was a dream come true. We had a great time getting into the macabre headspace.

BEHIND THE SCENES GALLERY

TRAILER

Alien Xmas

Alien Xmas

Alien Xmas

Art Coordinator | Visual Development Artist

Chiodo Bros. Productions

2019

Project Synopsis

“Alien Xmas” is the story of an alien named X who wants nothing more than to prove himself to his kleptomaniac peers. But when he gets in over his head trying to steal all of Santa’s toys, he inadvertently learns the true meaning of Christmas.

Because of my robust knowledge of the material needs of a Stop Motion project, I was brought on board this project to serve as the Art Dept Coordinator. Then I was able to put my illustration skills to work. I designed sets, models and props for the project, combining the alien science-fiction aesthetic with the warm elements of Christmas.

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Visual Development

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Final dressed set

KLEPT PLANET

As one of my first major environment design assignments, I got to spend a lot of time tweaking and perfecting what the Klept Homeworld would look like for the opening prologue of the film. We wanted it to feel barren and sad, a place where all good things had been destroyed by the Klepts’ greed. I loved the way the rest of our team translated my designs into the final set.

HERALD HORNS

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Horn props used in the opening scene

This horn is intended to herald in the coming of Z, the evil alien leader. We wanted to incorporate sharp pointy teeth into the design, which fit in nicely with the comically oversized scale. I was particularly proud of this design, especially since model-maker Josh Spooner did an incredible job translating my design almost exactly.

SPIDER CHAIR

The leader of the Klepts, an alien matriarch named Z, has some really awesome props associated with her. I designed her Spider Chair, which was fun to imagine. I also designed her staff, which had a very “Dark Crystal” feel to it.

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Design for the Spider Chair

SHIP CONTROLS

We wanted to add a bit of whimsy, and imagined the flight controls on the alien spaceships to have flight sticks that imitated video game conrollers. The final version ended up close to traditional flight controls, but the explorations into game controls proved useful.

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My final prop design for the Herald Horn

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Horn props used in the opening scene

SANTA’S BAG

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SANTA’S WALKIE

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The final prop, fabricated by the incomparable Greg Pinsoneault

CHRISTMAS WEAPONS

The Christmas weapons were fun to design, trying to conceptualize how wrapping paper would come out of a gun. My experience fabricating helped me think through these weapons and how they would be put together.

SANTA’S TOY FACTORY

In the world of Alien Xmas, toys are not so much hand-crafted as they are manufactured in a fun toy factory. The conveyor belts and various building mechanisms were great to imagine, and I was excited to see it coming together once it started being built.

LANDING SHIP

Z’s Pod went through many variations. It needed to be scary, but not too scary. Finding the right middle ground with the shape language proved to be a stimulating challenge.

SPACESHIPS

Even though this design wasn’t used for the final build, I had a great time conceptualizing all the pieces that needed to come together.

For one thing, we wanted the sihouette to look like a Christmas Tree. Building off of that, we wanted the Fighter Pods (which were designed to look like Christmas ornaments) to be able to dock in a way to look like they were hanging off of the ship’s “branches.”

The final ship was given life by our great model-maker Franco. Every artist gets to contribute something on a production like this.

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CITYSCAPES

For the final scenes of the film, the Klepts travel the earth to spread Christmas cheer. We needed to conceptualize single images of major cities that could read as iconic very quickly. These would get turned into sets that exagerated the famous aspects of those cities. Working quickly, I used a lot of photo-manipulation to get the concepts where we wanted them. I’m still proud of the final results.

Picking the landmarks was a fun challenge. Luckily, we were told we did not need to be scale-accurate, so we figured we could really have a bit of fun.

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Art Coordination

As the Art Coordinator, I was responsible for running the shop while our Art Director, Jeff White, was away. This happened frequently once we began shooting, as our production stages were in another building 10 minutes away. 

This gave me a sense of leadership in my role which I happily took upon myself. Among my other daily responsibilities included managin assignments to the model makers and set builders, doling out jobs and runs to our production assistants, and keeping the supplies ordered for the shop to run smoothly. I got to act as the art departments eyes and ears for upcoming builds, attempting to keep us one step ahead of a constantly evolving project.

TRAILER