Black and white Mars globe painted in oils using Mariners 4, 6, and 7 photography. Used to assist in providing context for Mariner 9 mapping photography.
'Scratch built' model of Venera 9 lander used atop a 'table top' landscape model.
Painted 16 inch Mars globe. Later used in 'Star trek-The next generation' episode 'The Best Of Both Worlds'
'Table top' model of the Ius Chasma section of the Vallis Marineris
Vallis Marinaris section for 'fly through' sequence. 24 foot plaster, stiffened cloth, cardboard and plywood.
Surface model of Titan using optimistic assumptions on percentage of cloud cover. This was my first table top model, with wax embellishments made by a Cosmos artist Brown. The background was jointly painted by Adolf Schaller and I.
Three foot diameter Earth globe at first for space simulation shots. Adolf Schaller painted an identical sized black and white cloud pattern globe for photographic superimposing on mine. Spheres were fabricated for us, we coated them with gesso and I gridded the sphere, then drew in a very detailed coastline with a rapidograph pen. I painted most of the land, several helped on the water. It was like painting a very detailed map on a 4 by 8 foot gessoed Masonite panel. Only one shot used the globe/cloud combination, but the globe was used to trace the paths of great explorations in an episode.
PBS shows 'planet Earth', 'Infinite Voyage', and 'Space Age'.
This 30 inch Earth globe was sculpted with land and ocean floor details. I did about 60 percent of the modeling for the master mold from which this production globe was made.
Dr. Ed Stone, then soon-to-be head of JPL, inspects the Voyager model we borrowed and embellished to look like the full scale mockup in Von Karmen Auditorium for the PBS show 'Infinite Voyage' episode 'Sail On, Voyager. I supervised the detailing work on the model.
The rings of Saturn, painted on two sides of plexiglass so as to simulate the appearance of the rings under varied lighting conditions. After all that work they only looked good from the intended angle they were to be filmed from, which of course was all we needed.
Table top model of Triton, Neptune's large moon. The geyser was fashioned from cotton, the rest of the model from painted plaster.
A 4 foot diameter hemisphere of Mars, with relief sculpted in colored gesso.
Table top Lunar Landscape model for Lunar base sequence of Moon episode of 'Space Age'. Hundreds of pounds of plaster and many containers of pigments were used. Dried plaster was pounded and sorted into various containers. Foreground textures used the coarser pieces, finer grades were used with distance until the furthest features, themselves modeled in compressed 'forced perspective' were almost powdery. A brilliant 'sun lamp' lit the approximately 10 by 20 foot model.
Mars Pathfinder lander, Rover, and the immediate surroundings rendered in Electric Image software as a panorama.
Phobos shape model. derived from combining existing digital models with more detailed photographic maps.
Shape model created in Cybermesh using Galileo's highest resolution photograph of Callisto as reference, then that photo was projected as a texture map atop the model. Portrayal suffers from oblique angle of the original photography.