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e d i t i o n 3 , 2 0 1 8 | c g w 9 and there. Every square was different." Because the film was moved up in the re- lease schedule, the architects had less time than usual to design the Parr's house. "We had eight months to do the house," Eggleston says. "And then, when we had just finished it, Brad [Bird] needed to consolidate a number of sequences into one. So, I pitched the idea of a larger house. We had two to two-and-a-half weeks to redesign it. The first week, ev- eryone did everything. The next week, we broke it into parts – the swimming pool, the secret room, the patio lounge, and so forth. Palm Springs was a big inspiration for the 'wow' room the family first sees. "The original film embraced the mid- '50s," he adds. "But, we wanted to incorpo- rate elements of the late-'50s, early-'60s. It's not specific, but it feels right. We have water running through every room, which the Parr family thought was cool at first, and then it was an annoyance." Dash uses the remote control to slide around the room elements – sections of the floor, the couch, chairs, and so forth. When the floor panels slide apart, they reveal a swimming pool beneath. Dash accidentally slides the couch into the pool. "We had a blast doing this film," Eggleston says. Because the changes in the new house occurred aer sequences were already fin- ished for the old house, the designers tried to re-use as many elements as possible. "We had a finished sequence of the characters having dinner together, and we were able to li the camera, layout, and composition work from the old house and arrange the space so all that work wouldn't have to be redone," says Philip Metschan, visual designer. "Also, the bed in the new house, the old house, and the motel are all the same size, so we could li the camera work from one to the other." WARDROBE AND COSTUMES In addition to the Parr family and the Deavor siblings, Evelyn (Catherine Keen- er) and Winston (Bob Odenkirk), the film also features Bob's best friend Frozone aka Lucius Best (Samuel L. Jackson), five second-rate supers, Edna "E" Mode (voiced by Brad Bird), the government man Rick Dicker (Jonathan Banks), Underminer (John Ratzenberger), an ambassador (Isabella Rossellini), Violet's classmate Tony Rydinger (Michael Bird), and a variety of background characters. They all needed costumes. Character artist Deanna Marsigliese started with classic mid-century designs, using Simplicity printed sewing patterns for inspiration. "Because it isn't a specific time period, Brad was OK with us referencing current fashion even if it wasn't right for a charac- ter in the '50s," Imagire says. "It was OK to have Bob in a T-shirt. And because a 1950s shape wasn't Violet's style, we went more toward cuffed jeans, sneakers, and sweat- ers. Since no time has passed between the two films, we made Dash's T-shirts in the same red, orange, yellow color scheme as the last film. But we saved money by mak- ing one T-shirt model in different colors and patterns." Tailoring lead Fran Kalal then made those designs possible in the 3D computer graph- ics world. "Costumes in the digital world have challenges," she says. "They have to change shape in seconds. And, they have to be fabulous." The costumes for the superheroes in the first film were shaded as fabric on their bodies. In this film, new technology allowed the artists to stitch together new costumes that fit over the bodies. "The original suits from 14 years ago stretched a lot," says Imagire. "So Fran [Kalal] made new suits from patterns. The fabric and the textures don't stretch as much." To create a kimono-like costume for the fabulous Edna, who, in the film, designs the superhero costumes, the tailors started with a 3D sculpture that they cut into flat pieces. They laid the flat pieces down, noting that the simulator observes grain direction. Then they tessellated the pieces and connected the points of each BOB TRIES HIS BEST TO BE AN INCREDIBLE HOUSEHUSBAND. THE ORANGE JUICE IS A FLUID SIM.