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

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