Toy Design, & Prototype / Working Models:
I would usually be told something like this:
"We have a concept model made out of cardboard and rubber bands. We want to produce this, but we need you to make it work reliably, be something that can be
manufactured within price point, and look really cool."
Thus I was not merely a model maker, or project manager of a model project. I was tasked to perform the duties of an industrial designer, mechanical engineer, and
model maker - plus exercise an intimate knowledge of manufacturing processes and manufacturing costs. What left my hands was expected to be sent directly
overseas, where it preferably underwent very little or no modification, before mass-production under the name of one of the largest companies in the world: Mattel.
I was ultimately responsible for numerous large and highly successful products for Mattel, including their famous 'Barbie' and 'Hot Wheels' lines. I designed, engineered,
and constructed numerous other prototype and working models for other toy manufacturers, including Bandai, X Concepts, and Hasbro.
One of the most competitive industries in the world, and contributing nearly as much to the Gross National Product (GNP) of the United States as the automotive industry
- my experience in the toy industry has proven itself to be of tremendous value to my career.
I would usually be told something like this:
"We have a concept model made out of cardboard and rubber bands. We want to produce this, but we need you to make it work reliably, be something that can be
manufactured within price point, and look really cool."
Thus I was not merely a model maker, or project manager of a model project. I was tasked to perform the duties of an industrial designer, mechanical engineer, and
model maker - plus exercise an intimate knowledge of manufacturing processes and manufacturing costs. What left my hands was expected to be sent directly
overseas, where it preferably underwent very little or no modification, before mass-production under the name of one of the largest companies in the world: Mattel.
I was ultimately responsible for numerous large and highly successful products for Mattel, including their famous 'Barbie' and 'Hot Wheels' lines. I designed, engineered,
and constructed numerous other prototype and working models for other toy manufacturers, including Bandai, X Concepts, and Hasbro.
One of the most competitive industries in the world, and contributing nearly as much to the Gross National Product (GNP) of the United States as the automotive industry
- my experience in the toy industry has proven itself to be of tremendous value to my career.
'Cyborg Attack' for Mattel's Hot Wheels line was literally presented to me as described
above (as the cardboard and rubber band concept model in the background, at left,
reveals). It constituted a tremendous challenge, and in fact nobody knew for certain if it
was possible to make it work. It's function was based upon gravity, and mechanisms
triggered by both the weight and motion of Hot Wheels cars fired around the looping
track by a battery-operated slingshot.
The physics could have been overcome if values, such as the weight of a car, were
consistent - but no two types of Hot Wheels cars weighed the same. Some cars were of
all metal construction, some all plastic, and some a composite of both materials, and
the track needed to function reliably with all of them.
above (as the cardboard and rubber band concept model in the background, at left,
reveals). It constituted a tremendous challenge, and in fact nobody knew for certain if it
was possible to make it work. It's function was based upon gravity, and mechanisms
triggered by both the weight and motion of Hot Wheels cars fired around the looping
track by a battery-operated slingshot.
The physics could have been overcome if values, such as the weight of a car, were
consistent - but no two types of Hot Wheels cars weighed the same. Some cars were of
all metal construction, some all plastic, and some a composite of both materials, and
the track needed to function reliably with all of them.
Every mechanical solution that I incorporated into the design and the model needed to be easily and cheaply copied overseas, and function with reliability equal to that of
my working model. There were ultimately 22 such mechanisms in the 'Cyborg Attack' working model that went to China following careful review and testing by staff at
Mattel.
my working model. There were ultimately 22 such mechanisms in the 'Cyborg Attack' working model that went to China following careful review and testing by staff at
Mattel.
The 'Groove Mall,' for Bandai of Japan (below), was another excellent example of industrial design, model making, and 'electro-mechanical' engineering.
Presented to me with even more leeway for personal creativity - I only had rough sketches from Bandai as guides, and a list of desired functions - the
completed model included lights and sounds that were triggered by the movements of the dolls around the play set. The greatest challenge was a moving
'people-mover' system in the floor: The system transported a doll from the revolving door around to the conveyor belt and to the base of the stairs. The
entire inter-connected mechanism was triggered by magnets in the feet of the dolls.
Presented to me with even more leeway for personal creativity - I only had rough sketches from Bandai as guides, and a list of desired functions - the
completed model included lights and sounds that were triggered by the movements of the dolls around the play set. The greatest challenge was a moving
'people-mover' system in the floor: The system transported a doll from the revolving door around to the conveyor belt and to the base of the stairs. The
entire inter-connected mechanism was triggered by magnets in the feet of the dolls.
Not quite a toy: The model below was sculpted and built for Jessie James of West Coast Choppers. The figure of Jessie stood about 2 inches high (and
was intentionally caricatured), and was sculpted out of Sculpy and cast. The base and background were sculpted out of Renshape and styrene. The
bike: I built-up the entire frame from soldiered brass and painted it with catalyzed lacquer - sanded, waxed and polished. Also made of brass, the
hand-brakes and kickstand worked.
was intentionally caricatured), and was sculpted out of Sculpy and cast. The base and background were sculpted out of Renshape and styrene. The
bike: I built-up the entire frame from soldiered brass and painted it with catalyzed lacquer - sanded, waxed and polished. Also made of brass, the
hand-brakes and kickstand worked.
I was thrilled to be responsible for many 'Barbie'
products for Mattel, such as the 'My Scene' twin
bike (left). I actually designed and built two bikes
for
the line: this one, and a single bike that hasn't
been produced to date. Mattel gave me
complete freedom of design, stressing only ease
of manufacture. The references they provided of
twin bikes were very old-fashioned styles - two
single bikes welded together. As illustrated at
left, shown in the retail packaging, I designed a
more modern machine made of three converging
arcs. They loved it, and they didn't change a
thing.
products for Mattel, such as the 'My Scene' twin
bike (left). I actually designed and built two bikes
for
the line: this one, and a single bike that hasn't
been produced to date. Mattel gave me
complete freedom of design, stressing only ease
of manufacture. The references they provided of
twin bikes were very old-fashioned styles - two
single bikes welded together. As illustrated at
left, shown in the retail packaging, I designed a
more modern machine made of three converging
arcs. They loved it, and they didn't change a
thing.
These look like production pieces (below and right), but they are not. Stuart Karten Design was very much the
stereotypical Los Angeles design firm (replete with swiss accents, sweater vests, and Andy Warhol decor). Part of that
stereotype was attention to extreme detail, and these projects were consequently the antithesis of the Mattel jobs. I
had to follow detailed directions very specifically and there was no acceptable margin for error. Nothing less than
perfect was acceptable. I did a lot of work for Stuart Karten, including some design as in the case of these examples
for the Jabra cellphone accessory line, mostly because I was the only person capable of meeting expectations.
stereotypical Los Angeles design firm (replete with swiss accents, sweater vests, and Andy Warhol decor). Part of that
stereotype was attention to extreme detail, and these projects were consequently the antithesis of the Mattel jobs. I
had to follow detailed directions very specifically and there was no acceptable margin for error. Nothing less than
perfect was acceptable. I did a lot of work for Stuart Karten, including some design as in the case of these examples
for the Jabra cellphone accessory line, mostly because I was the only person capable of meeting expectations.
The full scale model of the James Webb space telescope (below and right) was the
largest model I've ever built. A variety of materials were used, including aluminum,
plywood, acrylic, and ABS plastic. It was more carpentry than model making. I came
home every night covered with aluminum shavings from ripping 12 foot box beams
on the table saw - a danger relished by no one.
largest model I've ever built. A variety of materials were used, including aluminum,
plywood, acrylic, and ABS plastic. It was more carpentry than model making. I came
home every night covered with aluminum shavings from ripping 12 foot box beams
on the table saw - a danger relished by no one.
Not shown in these photos (security clearance prohibited pictures during construction) is the
complex aluminum wheeled dolly that I built from welded aluminum. When Raytheon took
possession of the model, attached atop the dolly, it would not fit through their huge hanger door
by LAX airport, and would not fit into any transport aircraft for its flight to the Paris Air Show: A
detail their aerospace engineers forgot to consider.
complex aluminum wheeled dolly that I built from welded aluminum. When Raytheon took
possession of the model, attached atop the dolly, it would not fit through their huge hanger door
by LAX airport, and would not fit into any transport aircraft for its flight to the Paris Air Show: A
detail their aerospace engineers forgot to consider.
Due to proprietary designs and confidentiality agreements, I'm limited to what can be displayed within my portfolio. As a consequence there are few 'in progress' photos.
Such was the case with movie models in particular. I've made character study models for 'Madagascar,' 'Cat in the Hat,' and "Fish Tale.' I assisted in the construction of
special effects models for 'The Aviator,' and 'Terminator 3.'
The film industry is so concerned about preventing leaks of their designs and concepts, that every piece of paper they provided me had to be accounted for following
the conclusion of the project. Thus it was often quite impossible to document my efforts, and in some cases I've had to resort to showing officially released images of a
completed project. Some projects that I remain very proud of, however, such as a tiny radio-controlled cat car I built for 'Cat in the Hat,' have disappeared - as it was
intended for inclusion in the film itself, but must have been cut during editing.
I believe that even without inclusion of those many projects, this section of my portfolio very well illustrates my experience and expertise as a designer and model maker.
Such was the case with movie models in particular. I've made character study models for 'Madagascar,' 'Cat in the Hat,' and "Fish Tale.' I assisted in the construction of
special effects models for 'The Aviator,' and 'Terminator 3.'
The film industry is so concerned about preventing leaks of their designs and concepts, that every piece of paper they provided me had to be accounted for following
the conclusion of the project. Thus it was often quite impossible to document my efforts, and in some cases I've had to resort to showing officially released images of a
completed project. Some projects that I remain very proud of, however, such as a tiny radio-controlled cat car I built for 'Cat in the Hat,' have disappeared - as it was
intended for inclusion in the film itself, but must have been cut during editing.
I believe that even without inclusion of those many projects, this section of my portfolio very well illustrates my experience and expertise as a designer and model maker.
