I started working on ice sculpture attractions as an onsite art director for Hotopp Associates in 2009. Over the next few years, my role expanded to include first the drafting, and then the entire design development process. By 2015, I was leading Hotopp’s team of designers, drafters, modelers, and art directors to design and oversee execution of up to six large-scale holiday ice attractions annually. Our team took ice sculpture attractions to a world-class level of detail, complexity, and brand adherence. Clients included all five Gaylord Resorts (operated by Marriott), The Queen Mary Hotel, and the Venetian Hotel in Macau.

Many of the ice shows were based on existing IPs and stories, so scope typically began with identifying narrative beats and developing floor plans to accommodate the operational needs of the attraction. From there, I worked closely with a concept designer who would develop a visual language for the show and illustrate each story beat. Once the concept was approved, the design team further developed the design, modeled the architectural ice elements in 3d and created detailed design intent drafting which the ice artisans used as a basis for construction. Any props that were needed (including character add-ons, graphics and set dressing) were also designed and specified in consultation with fabricators. Over the years, I refined the design and drafting processes, developed a highly efficient workflow, and trained and managed all new hires on the design and art direction teams.

The design process was just the beginning, though. Onsite, a team of 35 expert ice artisans worked closely with one of our art directors on each show for a full month to ensure that the sculptures met client expectations and brand guidelines. We executed some of the most recognizable brands in the world (“Shrek”, “Madagascar”, “Peanuts”, “Frosty the Snowman”, “Rudolph the Red-Nosed Reindeer”, “A Christmas Story” and “The Polar Express”, to name just a few) using nothing but ice and a limited number of props.

Managing multiple concurrent projects at this scale takes a lot of planning. I could write for days about the gantt charts, the resource allocation, the budget management, the coordination with lighting designers and riggers, how to politely educate IP holders on the restrictions of the medium, the challenges of working with sculptors who speak a different language, how to keep your fingers warm in a freezer…. Really days. But I’ll spare you for now and just say it was 10 years of incredible learning experience on a truly unique and rewarding project that created unforgettable holiday experiences for families. I look forward to the bringing those skills with me to the next adventure.