Pink is Not That Shrimple is an animated short film developed over a 10-week period. Working within a team of 9 creatives.

Key Responsibilities:

Puppet Fabrication
Set Fabrication

Background

Puppet Fabrication

Wing Creation

Version 1 and 2

Version 3

Version 4

Hero Wing

Conducted iterative armature testing to determine the optimal mechanical rigging for the flamingo wings. While an initial design utilizing wire mesh provided excellent structural integrity, testing revealed it added excessive bulk to the puppet’s proportions and caused production bottlenecks during the needle-felting process due to frequent needle breakage. To resolve this, I pivoted to a simplified, hand-like wire armature system. This design successfully maintained the necessary internal space for efficient needle-felting while ensuring the wings remained highly posable and lightweight for the animation team.

Felting time laspe of wing creation

Puppet Felting

The film utilized six full-body flamingo puppets and two additional sets of head and neck rigs dedicated to extreme close-up shots. Working within a fast-paced production environment, I was one of three felters on the team, collaborating closely with Mary Mihalko and Val Gaoc. In addition to sourcing the felt and selecting felt tones to match the concept art, I held sole responsibility for fabricating all six sets of wings across the entire puppet lineup.

To determine how materials would perform on camera, I cast two un-armatured test bodies to prototype different felt shades. The initial concept featured a randomized pastel palette; however, camera testing showed these tones appeared desaturated and muddy under production lighting. I adapted the approach by switching to a brighter, high-saturation felt and blending harmonious colors to achieve a vibrant, seamless finish.

Responsible for wings,body, tail, and neck felting. Also, responsiible for water animation.

Beach Creation

Beauty Shot

Film Lighting

Puppet Set Test

Plant Creation

Developed a comprehensive styling guide and introduced crepe paper fabrication to the production team to align with the film's childlike aesthetic. Drawing from personal expertise in paper botanicals, I onboarded teammates on crepe paper manipulation and introduced specialized post-fabrication stiffening techniques to ensure structural longevity on set. Additionally, I implemented airbrushing workflows to introduce subtle color variations and depth to the final elements

Only Responsible for the vines and leaves.