Issue link: http://digital.copcomm.com/i/1124104
6 2 P E R S P E C T I V E | J U L Y / A U G U S T 2 0 1 9 the Assistant Art Director, and Chelsea Brown, Graphic Designer, worked tirelessly to finesse the nuance in the graphics and colors referencing the cartoon. Looking closely one can see mini-nacho designs and cactus prints in the patterns on the backs of the seats in the restaurant. Lead painter Dan Petrescu and his team worked through many different paint samples to find the colors and Pantone matches for the palettes of those prints. The design of the super villain lairs was my favorite part of the design process. I tried to distinctly separate and punctuate each location, while also speaking to the larger legacy of action movies. It was very important to Adam and Zach that Kim Possible felt like a true action picture for kids and that the scale of every frame employed scope, stunts and effects to capture a spirit of grandeur. In an exhaustive search for large and potentially abstract spaces to house the inside of a slime factory and the secret science lab of Sector 12 for research and brain transfer machinery, I looked through old location files and was gobstruck by an outdoor atrium on the Simon Fraser University campus. The space had a beautiful balance of modern concrete weighted forms and midcentury lines. After scouting the location and immediately falling in love with it, Paul Russell informed me that the atrium was another Erickson (my favorite Vancouver architect!). The space had exactly the immensity of the cartoon lairs to dwarf the characters and it served as a focal point to build an enormous brain transfer machine and transport pods. The challenge was that the space had stairs in every direction and was also open to rain and the elements on all sides. With the masterful planning of construction coordinator Doug Hardwick and Art Director Roxanne Method, a strategy was A B C A. GRAPHIC ELEVATION BY ASSISTANT ART DIRECTOR ARIN RINGWALD FOR THE SEAT FABRIC AND BUENO NACHO GRAPHICS AND MOTIF DEVELOPED FOR THE FILM. B. BUENO NACHO. CONCEPT RENDERING BY GLEN SCHROEDER. RHINO MODEL RENDERED IN KEYSHOT AND PHOTOSHOP. THE VIBRANCY OF THE CARTOON VERSION INSPIRED THIS LOCATION DESIGN. C. BUENO NACHO. SET PHOTO BY RACHEL MYERS. D. SECTOR 12, SKETCHUP MODEL BY BIANKA BERGSON. E. SECTOR 12. CONCEPT RENDERING BY GLEN SCHROEDER. F. SHEGO LAIR. AN ATRIUM LOCATION WITH AN OPEN WALKWAY THAT WAS ENCLOSED TO BE THE HUB OF THE VILLAIN SET. CONCEPT RENDERING BY GLEN SCHROEDER. G. SHEGO LAIR, BUILT ON LOCATION AT SIMON FRASER UNIVERSITY. SET PHOTO.