Issue link: http://digital.copcomm.com/i/1124104
techniques to utilize the negative space of the empty stage, combined with vast architectural forms, the bones of the set were built. It was a minimalist approach that landed the responsibility to fill the voids of the strange laboratory onto the backs of the set decoration department, helmed by Jonathan Lancaster. In the end, it was a terrific collaboration between set decoration, greens and construction, bringing this creature laboratory to life with fictitious animal habitats for the heroes to discover Rufus, the lone naked mole rat. The list of sets goes on, but a last favorite locale in the film was the hidden dojo behind the living room in Kim's grandmother, Nana Possible's house. In the movie, the bookcase on Nana's living room wall slides opened to reveal a state-of-the- art training facility where Kim masters skills of the bo staff and explores life after tea with Nana. The prop department finished the Kim Possible magic by bringing cartoon props to life. With concept illustrations guided by prop master David Dowling, the props team came up with new, innovative solutions for Kim's gadgets. For example, the directors integrated technology into Kim's pendant necklace, an update on her early cartoon computer devices. The intention was to find a style that felt both fun and relevant for kids, but also contemporary and sophisticated. B A Every aspect of the set, as seen in my iPhone camera roll, from Kim's bedroom wallpaper to the intricate detail of her pendant, was thoughtfully crafted by members of the Canadian crew. The entire project was an exercise in world building from micro to macro. The scale of talent that went into the art in the film was immense, with over eighty people working between the Art Department, construction, set decoration, greens, props and paints. I've always felt that you're as strong as the people around you, and this Canadian crew was terrific at every turn with their ability, energy and talents. Designing Kim Possible was an amazing challenge during which Disney allowed the production both the freedom to create and run with our ideas, but also supported us in growing the scope and specificity of Kim Possible's world. When the film screened for the first time at the premiere, I felt a wave of awe marveling at everything the art team had built in bringing the story to life. Having grown up on Disney movies, it was special to think that we were giving a new voice to this character for young women. The work was nonstop and it was amazing to see Adam and Zach's energy, vision and passion actualized on screen. Kim Possible is the kind of project I dreamt of when I first got into this business —fantasy spaces, flying and girls who can do anything, and I'm very grateful to have been a part of it. Here's to Team Art Possible! ADG A. CRUMMY LAIR. CONCEPT RENDERING BY GLEN SCHROEDER. B. CRUMMY LAIR. SET PHOTO BY RACHEL MYERS. C. NANA'S DOJO. GRAPHICS LAYOUT BY BIANKA BERGSON AND ARIN RINGWALD. D. NANA'S DOJO. BUILT ON LOCATION. THE WALLS AND FLOORS WERE DESIGNED AND BUILT INTO THE EXISTING LOCATION USING THE ORIGINAL CEILING. SET PHOTO BY RACHEL MYERS. E. KIM'S JETPACK. CONCEPT RENDERING BY BRIAN CUNNINGHAM. F. KIM'S COMMAND CENTER. CONCEPT RENDERING BY GLEN SCHROEDER. G. TRANSPORT POD. CONCEPT RENDERING BY GLEN SCHROEDER. H. INNER SANCTUM. CONCEPT RENDERING BY GLEN SCHROEDER. C D