#Design Spotlight

[camiliar]

CALI MIKU

[citree]

Trying to come up with a custom twin Hawke design I care about when I always just default to their general designs

[crystallizsch]

it’s the 25th for me so merry christmas (or happy holidays)!! ✨✨✨

[skidcd-megamix]

On call with twin and I reworked Slim Shady’s strive design!!!!! Some sibling stuff too :3

The Frasco logo is still there btw and so is the motto I just got lazy

[toyastales]

emilio pucci dragon wedge sandals ss13

[barbielore]

The hot news out of Mattel is that Bill Greening has announced that he has left the Dreamhouse. His Instagram post is worded slightly ambiguously, so it is not clear whether he was part of the recent wave of layoffs or if he chose to leave after seeing the fallout, but either way, it is official: he is no longer a part of Team Mattel.

View this post on Instagram

A post shared by Bill Greening (@billgreening)

For those who don't recognise Greening by name, he was the Lead Designer for Barbie Signature, meaning he had a hand in the design of the vast majority of collectibles from the last several years.

As well as a number of collectibles and one of a kind dolls from over the years - in his post announcing his departure from Mattel, he acknowledged that he had been working with them on the Barbie brand for the past 26 years.

View this post on Instagram

A post shared by Bill Greening (@billgreening)

According to an article on the CSULB website, his early work with Mattel included playline dolls such as Cool Clips Barbie before moving onwards and upwards into the Signatures line.

And in addition to being Lead Designer for Barbie Signature, he also held the title of Brand Historian - i.e. the person who fact-checks things about Barbie lore for media like the animated canon or the 2023 Barbie film.

Mattel, if you need someone to take on Greening's role as Brand Historian, I am not available, but thank you for asking.

While on the subject of Bill Greening, I must mention my personal favourite Greening dolls. (Not that I can say this with any confidence; by the time this post comes out of my queue, I'll be in a different mood and I'll suddenly think a different Greening Barbie is my favourite.)

But for right now, in this moment, it's Jazz Baby Cabaret Barbie.

Farewell, Bill. We'll miss you.

View this post on Instagram

A post shared by Bill Greening (@billgreening)

[mad-serotonin]

THE 5 WISE GENERALS ARE HERE!!

🧪🪄💎🏹⚓️

Recently completed this print set and it was so fun I wanna keep making more hehe and I might just do that

[sofia-illustrator]

💎 Zendaya – Met Gala💎

[psilliguykai]

Happy [depending on your timezone belated-] 2nd birthday CCCC!!

I gotta eep now, but I might add some more thoughts tomorrow ^^

For now, thank you CCCC for being my intro to Chonny Jash, and thank you cj for all the awesome community and inspiration and joy you’ve brought me and so many other people. Your music and characters will always hold a special place in my Heart [haha] <33

[not-so-superheroine]

the ben 10 mpreg episode is frequently on my mind. it pops up at random intervals.

like the necrofriggian babies just fucked off to the other side of the universe and were mentioned in passing once later on. twice if you count the video games. seems like a significant event, but it's just back to business in the next episode. "save the last dance" is also known as one of the best episodes in the series (if not the best of alien force overall) and not just for the babies. also for the impactful character interactions and relationship development.

wild.

also, ben is only 15 years old in alien force. that's almost one baby for every year he's been alive (he has 14 of them). i will never get over that. unforgettable.

[sainz100]

Lewis Hamilton at the 2025 Met Gala | @/voguefrance

[dewwshi]

princess of mithral hall

[nerdinsandals]

✨Coordinator Conway All Stars!✨

This is something I wanted to do for the 10th anniversary last year, but unfortunately it was too ambitious on top of all the other things I had planned. However, Coordinator Conway is a concept that I adore so much that I just couldn't forget about it! So here's all my designs for this pseudo-AU where he gets to be a Coordinator and a rival to Dawn. ♥

[Original designs]

[robot-roadtrip-rants]

So like…he fucked Aeonid after that, didn’t he? Like. We all agree that Aeonid was out of his power pants 30 seconds after that delicate fade to black. We can all assume that Guilliman was specifically inspired to perform cataclysmically good head. What I mean is, the work Guilliman’s plans to do involves serving on the back, and the blowing out thereof.

[oh-gh0st]

shinrei deserves to be a goth princess in vampire matsu au. jyushi will be her prince

[netflix]

Spotlight: Adam Stockhausen

Production Designer, The Wonderful Story Henry Sugar

Oscar winning production designer Adam Stockhausen (not pictured above, that’s Benedict Cumberbatch), whose work you may know from Wes Anderson films like The Grand Budapest Hotel, Asteroid City, The French Dispatch, Isle of Dogs, and Moonrise Kingdom, as well as titles like Bridge of Spies, and West Side Story (2021), took the time to answer some questions.

Which details from or aspects of The Wonderful Story Henry Sugar did you focus the most on while adapting it to the screen? How did you meld Roald Dahl and Wes’s worlds?

The details on this one started with Dahl’s writing hut! We matched the details pretty carefully and exactly. As soon as we step outside of the hut though we start to move through the world of the story and the world of the stage at the same time. Wes had the idea of how he wanted to do this from the very beginning. My main challenge was trying to figure out how to pull it off—making the parts move and getting each to have the right detail.

What’s a small change you made on a project that ended up having an unexpectedly significant impact? 

Lots of times this happens—where what seems like a small thing at the time becomes a very significant turning point. I’m in Berlin now writing this and remembering being here scouting for East Berlin for Bridge of Spies. We were struggling to find a section of town that still felt old enough to show the early 60s, and decided to take a chance on a quick search in Poland. That quick search changed the whole production plan and ultimately gave us the look of our East Berlin.

How has technology changed the way you approach your work? 

Technology has definitely changed the way we plan the work. We used to model everything in cardboard or sometimes just plan in two dimensions with pencil and paper. We can now plan in 3-dimensional space using modeling programs and see what real lenses will do.  This allows for more accurate planning and makes scenery moves like the casino set in Henry Sugar possible.

Do you have any signature easter eggs you like to leave? Any small details that you are particularly fond of? 

I wouldn’t say there are easter eggs in this one. But there are loads of special details! I think my favorite might be the levitation boxes where we painted a perspective view of the background onto a prop box. The actor sitting on the box appears to be floating in a very special and theatrical way.

Did you talk about reflecting the iconic Quentin Blake illustrations in production design? How would you go about doing that? 

Not really. They are such incredible drawings and I’d say they’ve been inspiring me since I saw them as a child! But for this the starting point was really the machine Wes devised to move us through the story—and pairing that to specific references scene by scene.

There is such an intentionality to the aesthetics of a Wes world. Is there a set or frame that took you a long time to get perfectly right? 

All of them! It’s a very labor-intensive process getting these frames right. Occasionally one will click right away, but usually it’s a process of refining and refining. The jungle for instance went from sketches to models to samples and back again several times before the final look settled.

If you had to present one frame that showcases the best of your work, what would it be? 

Oh my. Maybe the jungle? I really enjoyed making the jungle!

With all the moving sets in the trailer for The Wonderful Story Henry Sugar, it feels reminiscent of a theatre production. Are there distinct differences in approach between film and theatre and how much do you blur the lines between them in your work? 

I think the lines are blurred completely! Or maybe they aren’t even there. I love that Henry Sugar is so incredibly theatrical in its storytelling.  It allows us to show the artifice of the sets all the time which somehow makes them even more satisfying when they finally do line up and create a complete picture. I think the casino set is a perfect example—the pauses where it all lines up for a second are even more enjoyable because we get to see it broken apart and sliding away.

Thanks, Adam!