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The following images are of set and character designs for The Labyrinth

This image represents the palace of Knossos. In the foreground is a two-columned staircase that overlooks the Mediterranean Sea.

For this design, I was looking to create a temple and altar for Charulata, an oracle to the Athenian king, Aegeus.

In an attempt to hide her deformed young son from certain death, Queen Pasiphae chooses this room that the king has forgotten about.

When Theseus is placed in the labyrinth, he finds his way to the lair of Asterion, the minotaur.

King Aegeus and his son, Theseus, walk the palace garden rooftop of Athens, discussing the ultimatum of King Minos: War, or Theseus's self-sacrifice to the minotaur.

In a dream, Queen Pasiphae swims with dolphins.

This is an establishing shot for the city of Knossos, on the island of Crete, executed and composited by former ILM matte artist, Mark Sullivan.
The scene is comprised of a number of elements. The ocean plate is a live-action element and was photographed off the coast of Washington.
The boat and sail are practical elements; a miniature boat and a separately-filmed sail, about 4 feet wide and 2 feet high.
The remaining scene is a matte painting of the shoreline, Knossos palace, and sky. A separate element was included for the flag atop the palace roof.


Emmy award-winning animator, Tom Smith steps in between frames to re-position the minotaur puppet.

The metal ball and socket/hinge-jointed armature for the minotaur. The skull is cast from urethane resin.

The armatured stop-motion puppet for Asterion, the minotaur, designed by Tom Brierton and sculpted by Jim Davidson.

Tom Smith animates Charulata, the six-armed oracle.

Preparing Charulata's entrance. The lighting for this shot consisted of an overhead key, two box lights for the matting screen, and two rim lights.

The armatured stop-motion puppet for Charulata.

The ball and socket armature for Charulata (machinist: Tom Brierton). The puppet was originally designed with eight arms, but during the casting of the puppet,
it was decided that eight arms were superfluous, and six were finally settled on.

This is a clay sculpture of Princess Ariadne, daughter of King Minos and Queen Pasiphae. Sculpted by noted sculptor and actor Jeff Yagher,
it was used to create the hydrostone mold, of which a silicone casting was pulled from.

The ball and socket armature for Ariadne (machined by Tom Brierton).

The ball and socket armature for the white bull (machined by Tom Brierton).