In-Depth Prop Planning

My role as Production Designer demanded I take both the context of the film and the directors vision into account when designing the props to be used, so how I planned each prop was vital to each piece's success.

For the wooden cross prop, several iterations based upon Celtic and traditional Christian designs of the Holy Cross were prototyped, at sizes fitting a necklace version as well as a handheld version.
Utilisation of a CAD software allowed me to swiftly create laser-cut prototypes to demonstrate these concepts to the director, ultimately leading to the selection of the larger version of the Celtic cross design to be used for the final prop.
This communication allowed for a clear understanding of my work process for the director, and for myself to gain better insight into the directors ultimate vision for the films stylisation.

The mossy scratch-mark prop also demanded a certain level of pre-planning and care, as we were not permitted to cause any damage to the trees within the forest we were filming in, meaning we needed an alternative that didn't leave any lasting effects.
The resolution I came to was essentially a fake moss patch that functioned as a jumbo sticker - a medium strength adhesive connecting it to the tree for the shot, strong enough to hold but weak enough to remove with any lasting effects or marks.
The moss aspect of the prop allowed me to place wood chunks inside, to mimic the moss being scratched off to reveal the wood underneath - as well as blend the edges of the patch into the tree to make the prop look as natural as possible.