I, Kenneth A. Larson, began working in the Entertainment Industry in 1978 as a Visual Effects Model Maker. I moved through the system, working on live action scenery and Special Effects, until 1996 when I began working as an I.A.T.S.E. Local 847 Set Designer on Batman and Robin, Set Designing the miniatures and CGI scenery. I have worked exclusively as a Set Designer since 1996, now in Local 800 and I am a rostered computer specialist. I am also a member of the Visual Effects Society. I use traditional and computer skills, create draftings and models, live action and Visual Effects, Features, Television, Theme Park, Architecture, Interior Design, and Display.

When using the computer, I primarily work in AutoCAD (2D and 3D), SketchUp, and Photoshop, and use others when necessary.

My computer kit includes most popular draftng, modeling, and graphics programs including Autodesk Building Design Suite (AutoCAD, Revit, and others), Adobe Creative Suite (Photoshop, Illustrator, Acrobat, and others), VectorWorks, SketchUp Pro, Rhino, 3D Studio Max, Corel Draw Graphic Suite, Poser, MS Office, WordPerfect Office, and others.

Visual Effects models since 1978

Architectural, Theme Park, Set Design models since 1980.

Set/ Prop Building since 1980.

Availability

Kenneth A. Larson finished working as a Set Designer on the pilot Two Wrongs for Fox.

Ken is available for work as a Set Designer. Ken has worked on many feature and television projects and is available.

Ken is available now.

Job offer contact

Updated: 5-25-13

Download Resume
Updated 1-25-13

Complete list of Credits
Updated 1-25-13

Visual Resume
Updated 6-14-13

Set Design since 1992.

Art Direction since 1994.

Race to Save Nome, 2012.
10 back lot type buildngs for Nome 1917.

Ben and Kate, 2012.
Permanent sets for a sit-com.

American Horror Story, 2011. ADG Nomination.
Season One.

My Mother's Curse - renamed The Guilt Trip, 2011.

The New Girl, pilot, 2011. ADG Nomination.

Rizzoli and Isles, 2010.

Justified, 2009-2010.
Season One.

GORP

Golden Oaks Ranch Project, 2008.
Disney back lot - Block B.

GORP

Golden Oaks Ranch Project, 2008.
Disney back lot - Block H.

GORP

Golden Oaks Ranch Project, 2008.
Disney back lot - Block I.

Polar Express, 2002.

Shrek

Shrek, 1996.

I was Computer Modeling,
when Computer Modeling wasn't cool.

I included this wire-frame drawings for a Vac-u-form buck using AutoCAD © R12 in 1992, when only a few Set Designers used the computer for anything.

Diversity

3D and 2D

Pencil drafting and

Computer drafting

Live action and

Visual Effects / CGI

Physical Models and

Virtual Models

Features and

New Construction Drawings and

As-Builts / Location Surveys / Director Drawings.

Set Building and

Set Design

Portfolio

After some of my samples were misused by fans, I no longer post my work on the web. If you are an Art Director or Production Designer, please provide your name and I will email the password to you using your email address in your directory listing at the Local 800 web site. This may be a bit awkward, but I think you will appreciate it when the work that I do for you is password protected.

Non-Public Portfolio
User name and password is required.

Public Portfolio
Most images are not included.

Background

Member I.A.T.S.E.local Local 800 (Art Directors),
Former member:
Local 847 Set Designers and Model Makers (now part of Local 800),
Local 839 Motion Picture Screen Cartoonists (Honorable Withdraw),
Local 44 Affiliated Property Craftspersons, Prop Makers, Carpenters and Special Effects (Honorable Withdraw).

Senior and Computer Specialist rating in Local 800.

Member Visual Effects Society.

Experience

I have over 34 years experience in designing and building scenery for the Entertainment Industry working on Features, Television, Commercials, print ads, Theme Parks, Theme Interior Design, Architecture, Theme Architecture, Trade Show Display, and other related areas of Environmental and Entertainment Design. I am most experienced in motion picture and television, having worked on such films as 3 Batman movies, Hunt for Red October, several Star Trek projects, Shrek, The Polar Express, Ghost Whisperer, American Horror Story, and countless others. I work primarily in the Hollywood region. I use both traditional drafting (pencil on board) and computer aided drafting in creating my set designs. I prefer working with the computer and have been since 1990 using AutoCAD R10. I am also an expert model maker having started as a Visual Effects Model Maker and in time, have built most forms of models including theme park and Set Design models.

Versatility

I am versatile and multi-disciplined in the field of scenic design and construction. I am equally talented at using both computer aided and traditional approaches to Set Design. I have many years of experience building models in most forms including models for camera and study models and now do much of my design work using virtual computer models. I work in 2D CADD drafting and 3D CAD (Computer Aided Design) modeling and CADM (Computer Aided Design and Manufacturing). I have worked in Visual Effects and live action cinema. While I have not yet worked in theatre scenery, I did spend over a year working for an architect specializing in theatre buildings. I have built scenery, props, mock-ups, and Special Effects before shifting emphasis exclusively to design in the mid-1990s. I have also created graphics for the film industry using traditional and computer skills.

Visual Effects and CGI

I have extensive experience with Visual Effects and CGI, in addition to most aspects of set, prop, and miniature construction. I began as a Visual Effects Model Maker creating physical models of space craft and landscapes for Buck Rogers in the 25th Century. I got my start in the early days of motion control for miniatures and still enjoy model making. In recent years, I have lent my creative talents to Set Designing for all-CGI films such as Shrek and The Polar Express. I am a member of the Visual Effects Society.

Set Design

I have been a Set Designer for numerous Motion Picture and Television productions working on a variety of sets. Some projects include: Set Designs for Visual Effects Miniatures for Batman and Robin, Bradley Infantry Fighting Vehicle for The Pentagon Wars, period CGI sets for Shrek and The Polar Express, Absolut Versace sets for still shots for Vogue magazine. Also sets for X-Files, Collateral Damage, American Pie II, C. S. I, invasion, Ghost Whisperer, Justified, Rizzoli and Isles, Lie to Me, The New Girl, American Horror Story, Race to Save Nome (now in production), and many more. While I love Set Design, I have on occasion acted as Art Director on several student films, short films, and small features.

There is sometimes a belief in the Art Department that either people design sets, or if they lack design talent, they build them. People are sometimes surprised to learn that I am equally accomplished in design and construction. The truth is that as a Visual Effects Model Maker, I designed much of what I built. I have an AA degree in Architecture and a BA degree in Interior Design. I am proficient in several CAD and graphic computer programs. I am a better scenery designer for having 18 years experience building scenery and still build most of my own furniture and perform most of my own home improvements. As of this writing, I was a builder for 18 years and have been a designer for 17 years.

3D, Computer Models, Computer Rendering, Pre-Vis.

I was doing 3D, Computer Models, Computer Rendering, and Pre-Vis using AutoCAD and 3D Studio when most Set Designers were still drawing 2D with a pencil. I worked for a year for an architect and made many complex computer models but found little demand in the studio Art Deparment. I am now engrossed in learn or refreshing in several computer modeling programs. Some samples.

Location Work

While personal obligations make it difficult for me to take long-term distant location work, I have recently worked on several projects primarily, or entirely, from my home office. Two small jobs were for local productions and easily accomplished from my home office without the need to set up my equipment in a small Art Department. I also worked for six weeks on a major production that was shooting in Calgary, Alberta, Canada. Thanks to high-speed Internet, I could email everything, first scanning anything that didn't originate in the computer. A few phone calls and emails a day kept communication open. Revisions or corrections could be emailed back. Opening PDF files in Illustrator for mark-up makes it easy for the Art Director to red-line a drawing and send it back for revisions. Production saved on travel and perdiem costs while benefitting from employing an experienced "Hollywood" Set Designer. Besides, I often communicate with the Art Director the same way when he or she is just across the hall.

This page last updated: Friday, 14-Jun-2013 18:01:54 EDT