WhiteClouds creates custom foam props, sculptures, product replicas, characters, signs, scenery, exhibits and decorative forms using a combination of digital fabrication and hands-on sculpting.
Depending on the project, the process may involve CNC hotwire cutting, three-axis or five-axis milling, robotic machining, hand carving, internal structures, protective hard coats and professional finishing. Each build is planned around how it needs to look, perform, ship, assemble and interact with its audience.
Custom foam sculptures and displays built around scale, appearance, durability, transportation, and real-world use.
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Professional foam carving is not a single cutting technique. It is a coordinated fabrication process that turns blocks, boards or laminated layers of rigid foam into a finished physical object.
A project may begin with a digital model, full-size templates, reference photographs, drawings or a physical sample. The form is then divided into practical sections and shaped using CNC equipment, hotwire cutting, saws, power-carving tools and hands-on sculpting.
Foam creates the lightweight sculptural volume, but the foam alone does not determine how the finished project performs. Internal structures, mounting points, seams, hard coats, paint systems, transportation and installation must all be planned around the project’s intended use.
The foam creates the volume. The structure, coating and finish determine how the completed piece performs.
Most large foam projects move through the same general stages, although the equipment, structure, coating and level of hand sculpting vary by project. Digital planning establishes the form, machine cutting creates the primary volume, and hands-on fabrication prepares the completed piece for finishing, transportation and installation.
Reference material, dimensions and project requirements are developed into a digital model or full-scale fabrication plan. This establishes the proportions, section sizes, structural zones and major surface details before physical production begins.
The digital form is divided into sections that fit the available foam stock, cutting equipment, transportation requirements and final assembly plan. Sheets or blocks may also be laminated together to create larger carving blanks.
CNC machinery, hotwire equipment, saws and other roughing tools remove the largest areas of excess foam. This stage establishes the primary silhouette and creates the major volumes that will support the finished sculpture.
Foam sections are aligned and assembled around any required metal, wood or mixed-material structure. Bases, mounting plates, hard points, connectors and removable sections are incorporated before detailed sculpting makes those areas more difficult to access.
Sculptors refine contours, expressions, transitions and textures using knives, rasps, grinders, rotary tools and abrasives. This stage removes the mechanical appearance left by rough cutting and gives the form its final character.
Seams, voids and tool marks are filled, blended and prepared for the selected surface system. A protective coating such as Polyurea ULXT66, epoxy, fiberglass or another appropriate finish may then be applied according to the project’s durability and appearance requirements.
Primer prepares the coated surface for paint and helps identify areas needing additional finish work. Base colors, airbrushing, graphics, textures, highlights and specialty details then create the completed visual appearance.
The finished project is protected, packed and transported according to its size and surface requirements. Modular sections are assembled, positioned and secured using the installation approach established during the design and structural-planning stages.
From detailed indoor displays to monumental outdoor sculptures, WhiteClouds combines digital fabrication, structural construction, hand sculpting, protective coatings and professional finishing around the needs of each project.
A monumental creature display combining digitally planned foam sections, structural assembly, hand refinement, protective coating, detailed painting and installation planning.
A large sculptural character built to create a recognizable focal point for an event while remaining practical to transport, position and display.
A 65-foot landmark created from approximately 21 major sculpted sections with high-density EPS foam, sectional internal metalwork, a protective polyurea coating, scenic paint, freight preparation and on-site assembly planning.
Read the case study →WhiteClouds has been an incredible partner for our candy expos, consistently bringing our products to life through stunning, life-size sculptures.
WhiteClouds has created props, sculptures, replicas and displays for brands, attractions, sports organizations, museums and public destinations.
Foam is available in different chemical compositions, densities, cell structures, sheet sizes and block sizes. Those differences affect how the material cuts, how much detail it can retain, how much preparation it requires and how it behaves beneath a coating.
Material selection is based on the complete project rather than one specification. A monumental sculpture may use lightweight EPS for most of its volume, denser foam for detailed components and metal or wood where structural support is needed.
Expanded polystyrene is made from small expanded beads that are fused into molded shapes or large blocks. The visible bead structure is one of its most recognizable characteristics.
EPS is widely used for oversized props, characters, scenery, letters and sculptural displays because it can create substantial volume without excessive weight. It can be cut with hotwire equipment, machined with CNC systems, shaped with saws and power tools, or refined by hand.
EPS is available in multiple densities. Lower-density material is useful when large lightweight volume is the primary goal, while higher-density EPS can provide a tighter surface, improved edge quality and greater resistance during fabrication. The selected density also affects material cost, machining behavior and coating preparation.
Because the bead pattern may remain visible on an unfinished surface, EPS frequently receives fillers, sealers, hard coats or textured finishes before painting.
Extruded polystyrene is manufactured as a continuous rigid foam board with a more uniform closed-cell structure and smoother cut surface than typical EPS.
XPS is commonly supplied as sheets or boards rather than the very large molded blocks available in EPS. It is useful for layered fabrication, carved panels, architectural details, scenery, models and smaller sculptural blanks.
Sheets can be laminated to create thicker forms, then cut, routed, carved and sanded. The consistent cell structure can make it useful where a smoother initial surface or crisp hand-shaped detail is important.
Adhesives, paints and coatings must be selected for compatibility. Some solvent-based products can soften or damage polystyrene foam.
High-density urethane is a closed-cell rigid polyurethane tooling and sign material available in a range of densities and thicknesses.
HDU is denser and generally more expensive than the lightweight EPS commonly used for very large sculptural volume. Its fine, consistent cell structure makes it well suited to CNC routing, dimensional signage, relief carving, patterns, architectural ornament and components that require crisp edges or detailed machining.
HDU can be cut, bonded, routed, milled, sanded and hand-carved. Different densities provide different balances of weight, toughness, machining quality and cost.
A project does not need to be made entirely from HDU to benefit from it. Detailed HDU parts can be combined with larger EPS forms, internal structures and other materials.
Many large custom projects use more than one foam or fabrication material. Lightweight foam can create the primary volume while denser foam supports detailed areas, metal carries structural loads, wood creates mounting surfaces and 3D-printed components provide small or repeatable details.
Hybrid construction allows each material to do the job it handles best. The combination must be planned so adhesives, expansion, surface preparation, coatings, hardware and final finishes remain compatible.
Density affects weight, toughness, machining behavior, surface quality and price. The most appropriate foam is the one that supports the required scale, detail, finish and use without adding unnecessary material cost or weight.
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| Material | Common format | Detail potential | Common shaping methods | Typical applications | Important considerations |
|---|---|---|---|---|---|
| EPS | Large blocks, sheets and molded shapes | Moderate to high depending on density | Hotwire, CNC cutting, routing, saws, power carving and hand sculpting | Oversized props, sculpture, scenery, letters and landforms | Visible bead structure often requires surface preparation |
| XPS | Rigid sheets and laminated blocks | Moderate to high | Hotwire, routing, knives, carving and sanding | Layered forms, panels, scenery, models and architectural details | Product compatibility and limited board thickness should be considered |
| HDU | Dense rigid sheets and tooling board | High | CNC routing, milling, carving and sanding | Signs, reliefs, patterns, ornament and detailed components | Greater density generally adds weight and material cost |
| Hybrid construction | Multiple foams combined with other materials | Project-specific | Lamination, machining, hand work and mixed fabrication | Large complex displays, interactives and armature-supported builds | Adhesives, structure and coatings must be compatible |
Computer-controlled cutting translates a digital model into physical foam sections. Different machines approach the material in different ways, so no single system is ideal for every shape.
Hotwire machines cut continuously through compatible foam. Routers and mills remove material with rotating tools. Five-axis machines and robotic systems can approach complex forms from multiple directions. Most detailed projects still receive hand refinement after machining.
A CNC hotwire cutter moves a tensioned, electrically heated wire along a programmed path. The wire passes continuously through the foam, creating a clean cut with little physical cutting resistance.
This method is especially efficient for letters, logos, profiles, repeated slices, tapered architectural elements and large contours. It can also divide a digital sculpture into accurately shaped layers that are assembled and refined later.
Because the wire remains straight between its endpoints, it cannot independently carve enclosed pockets, deep undercuts or details that the wire cannot physically pass through.
A multi-axis hotwire system moves the two ends of the cutting wire independently. Instead of producing only parallel-sided profiles, it can create tapered, twisted and changing cross-sections.
This makes the process useful for cones, wings, transitions, curved architectural elements and large sculptural sections whose shape changes from one end to the other.
Even with additional axis control, the cut is still governed by a straight wire stretched between two points. Geometry, registration and section planning remain important.
A three-axis CNC router removes foam with a rotating cutting tool that moves along the X, Y and Z axes. Unlike a hotwire, the router can create pockets, reliefs, recessed areas and three-dimensional surfaces from one accessible side of the material.
Three-axis machining is useful for relief sculpture, signs, panels, patterns, terrain, architectural ornament and portions of larger forms. A block can also be repositioned or indexed so additional sides can be machined.
Tool diameter, tool length and the angle of access affect the detail that can be reached. Machining marks are normally sanded or refined before coating.
Five-axis CNC milling allows the cutting tool to approach the foam from multiple angles during the machining process. Depending on the machine configuration, the spindle, workpiece or both may rotate in addition to moving along the three linear axes.
The additional movement provides better access to complex curves and multi-sided organic forms. It can reduce the number of times a large sculpture must be repositioned and can machine areas that would be inaccessible in a single three-axis setup.
Five-axis machining is particularly useful for complex characters, statues, creatures, product forms and large detailed components. It does not eliminate hand sculpting: seams, tool marks, subtle expressions and final surface quality commonly require manual refinement.
Robotic milling uses a multi-jointed industrial arm fitted with a spindle or other cutting tool. The arm’s reach and range of motion allow it to move around large foam blocks and approach sculptural surfaces from many directions.
Robotic systems are useful for monumental sculpture, large scenic forms, molds, oversized props and complex parts that benefit from an extended work envelope. A rotary table or linear track can add even more movement.
The process is most effective for roughing and establishing complex geometry. Registration, collision planning and toolpath simulation are critical, and the machined surface is commonly refined by sculptors before coating.
Oversized designs are often divided digitally into sections before fabrication. Sectioning allows the form to fit available foam blocks, cutting equipment, freight dimensions, doorway clearances and final assembly requirements.
Registration keys, reference marks and indexed surfaces help the individual sections return to their correct position. Seam locations can be planned around natural contours or areas that will be easier to fill, coat and conceal.
Digital toolpaths also determine cutting order, tool choice, machining direction and the amount of material intentionally left for hand finishing.
CNC equipment is valuable for repeatable geometry, but many foam sculptures still require portable tools that can follow changing contours and respond directly to the sculptor’s eye. Heated tools cut compatible foam by melting a narrow path, while saws, grinders, rasps and sanders remove material mechanically.
A bow cutter holds a heated wire under tension between two arms. It can make long straight cuts, broad curves and freehand profile cuts through EPS and compatible foam. Large bows are useful for reducing blocks and cutting full-size sculptural sections.
Long blades can remove thick sections where a heated wire cannot reach or where the cut does not need a melted edge. Saw cutting is faster for some roughing operations but creates a rougher surface and more loose foam debris.
Chainsaws and other aggressive cutting tools may be used to establish the major silhouette of a monumental foam block. They remove material rapidly and require experienced control because a small movement can remove a large amount of foam.
A hot knife uses a rigid heated blade for trimming edges, making plunge cuts, cutting slots and shaping areas that need more control than a flexible wire.
A shapeable heated wire can create concave cuts, grooves, recesses and freehand contours. The wire profile itself can be bent to produce a repeatable channel or texture.
A freehand router uses a formed heated wire to remove foam from within a profile rather than cutting completely through the block.
A vertical heated wire passing through a work table allows the foam to be guided by hand for precise sheet profiles and small repeated shapes.
Abrasive discs, carbide cutters and power-rasp attachments can remove foam quickly across broad curved surfaces.
A compact die grinder reaches concave areas, transitions and smaller recesses that are difficult to shape with a larger grinder.
Rotary tools accept burrs, drums and abrasive accessories for controlled detail work, edge refinement and localized texture.
Sanders smooth broad surfaces and transitions before fillers or coatings are applied. Fine sanding alone does not always remove a visible EPS bead texture, so the finish process must be selected accordingly.
Heated cutting, mechanical carving and sanding require appropriate ventilation, dust control, static control, personal protection and material-specific procedures. The selected method must suit both the foam and the surrounding finish system.
Hand sculpting is where mechanically produced geometry becomes a convincing physical form. Sculptors compare the foam to reference images, templates and viewing angles while adjusting contours by sight and touch.
Some tools remove material quickly. Others refine subtle transitions, expressions, muscle forms, fabric folds, scales, bark, stone texture and other surface details. The correct tool depends on the density of the foam, the direction of the cut and how close the surface is to its final shape.
Hand refinement is not merely corrective work after CNC cutting. It is an intentional sculptural stage that controls expression, visual balance, texture and how the finished object reads from different distances.
Large sculptural forms frequently exceed the thickness or dimensions of a single piece of foam. Sheets and blocks can therefore be laminated into a larger carving blank before cutting, or assembled as separately shaped sections later in the process.
The adhesive must be chemically compatible with the foam. Some solvent-based products can attack polystyrene, while other adhesives may create rigid seams, flexible seams, long cure times or visible bond lines that affect carving and coating.
Seam location matters. Joints can be staggered, placed away from critical surface details or aligned with planned section breaks. The goal is to create a stable blank while minimizing visible transitions in the finished surface.
Adhesive joints are not a substitute for an internal structure when the project includes structural loads, hanging points, seating, climbing or other significant interaction.
Foam is excellent for creating volume and surface shape, but it should not automatically be expected to carry concentrated loads, support hardware or resist every installation force by itself.
Large, suspended, interactive, moveable or outdoor projects may include a steel, aluminum, wood or mixed-material framework. The structure transfers loads to bases, mounting points or installation hardware while the foam creates the exterior form.
Welded steel or aluminum frames can support monumental sculptures, suspended forms, cantilevered components, moving parts and repeated transport. Metal can also provide precise mounting plates, lifting points and attachment locations.
Plywood, lumber and engineered wood components can create internal ribs, flat mounting surfaces, bases, cabinetry and attachment points. Wood is particularly useful when the project must connect to common fasteners or integrate with scenic construction.
Threaded inserts, plates, brackets and reinforced blocks allow hardware to connect to the underlying structure rather than relying on the foam surface.
Freestanding pieces may use hidden bases, ballast, outriggers or casters. Portable displays can include removable bases, lift points and hardware designed around repeated setup.
Suspended and wall-mounted pieces require defined attachment points, load paths and access for installation hardware. The mounting approach should be planned before the outer form is finalized.
Large projects can be divided into removable sections for freight, doorway clearance, storage, touring and installation. Connections may use bolts, pins, alignment keys, magnets or concealed hardware according to the application.
Seats, steps, handles, openings and other interaction zones may require reinforced frames, stronger coatings, smoother edges and additional safety planning.
Foam projects may also include acrylic, metal trim, lighting, electronics, screens, sound, vinyl graphics, laminated graphics, faux greenery, fabrics and 3D-printed components.
An unfinished foam sculpture may have visible beads, seams, tool marks and a surface that can be damaged by concentrated impact. Surface preparation and coating transform that carved shape into a display-ready object.
The most appropriate system depends on the desired smoothness, detail, weight, handling, exposure, repair strategy and budget. A lightweight indoor display does not necessarily need the same shell as a touring prop, public photo opportunity or exterior installation.
Controlled indoor displays may use foam-compatible fillers, sealers, primers and paint without a heavy reinforced shell. This approach keeps weight and coating labor lower and can preserve fine carved detail.
Water-based acrylic and elastomeric systems can create a continuous flexible surface over properly prepared foam. They are useful when some movement is expected or when a textured scenic finish is acceptable. These systems vary widely in thickness, hardness and exterior suitability. Mesh or reinforcing fabric may be incorporated at seams and vulnerable areas.
Epoxy-based fillers and sculpting compounds can fill seams, rebuild edges, add detail and create localized hard surfaces. Some systems can be spread as a skim coat and sanded to produce a smoother finish. Product compatibility must be considered because not every resin should contact every foam directly.
Polyurea ULXT66 is a sprayed protective hard coat used by WhiteClouds over properly prepared foam. The two-component material reacts rapidly to create a continuous shell that adds resistance to abrasion, impact and repeated handling. The sprayed surface may have a subtle orange-peel-like texture, and additional preparation may be required when an extremely smooth, close-view finish is the highest priority.
Fiberglass combines a resin system with glass reinforcement to create a rigid composite shell. It can be applied over a prepared foam form or used to create a separate shell from a foam master. Resin compatibility and barrier preparation must be planned carefully.
Polymer-modified cementitious coatings and other textured systems can create the appearance of rock, stone, masonry, stucco, bark and weathered architectural surfaces. They add texture and mass, making them more appropriate for scenic surfaces than for highly polished product replicas or fine facial detail.
The correct system depends on the required appearance, interaction, environment, weight, repair strategy, production schedule and budget. Some projects also combine systems—for example, epoxy detail work beneath a polyurea shell or reinforced textured coating over structural foam.
| Surface system | Typical surface character | Fine-detail retention | Relative impact resistance | Flexibility | Added weight | Outdoor potential | Typical applications |
|---|---|---|---|---|---|---|---|
| Light-duty sealed finish | Smooth to lightly sealed | Higher | Lower | Lower | Lower | Limited without added protection | Indoor display and decor |
| Flexible acrylic or elastomeric | Flexible continuous skin | Moderate | Moderate | Higher | Low to moderate | Project-specific | Scenic texture and flexible surfaces |
| Epoxy fillers and coatings | Fillable and sandable | Moderate to higher | Moderate | Lower to moderate | Low to moderate | Project-specific | Seams, edges and smooth paint prep |
| Polyurea ULXT66 | Tough sprayed shell | Moderate | Higher | Moderate | Moderate | Project-specific | Props, characters and public displays |
| Fiberglass shell | Rigid composite shell | Moderate | Higher | Lower | Moderate to higher | Project-specific | Rigid shells and composite forms |
| Cementitious textured | Textured scenic surface | Lower to moderate | Project-specific | Lower | Moderate to higher | Project-specific | Faux rock, masonry and themed environments |
The final appearance is created through surface preparation, primer, color, texture, graphics and specialty detailing. Paint does more than add color—it can change how the viewer interprets the material, scale and visual weight of the finished object.
Seams and surface texture are filled and prepared before primer and color are applied. Smooth branded finishes are commonly used for logos, products, packaging and clean graphic forms where color accuracy and consistent sheen matter.
Layered metallic colors, patinas, highlights and shadows can make a lightweight foam form suggest steel, bronze, aluminum, copper or aged metal. The base surface must be prepared to support the intended level of realism.
Texture compounds, aggregate effects, washes and dry brushing can reproduce stone, concrete, brick, plaster or weathered masonry. These finishes often benefit from a textured coating rather than a perfectly smooth shell.
Carving, grain tools, layered color and selective highlights can reproduce wood, bark, roots and other natural surfaces. Deeper texture may be created in the foam or added during coating.
Food, skin, fur, feathers, scales and biological forms rely on sculpted detail combined with layered color, gloss control and localized texture. Different areas may use matte, satin and glossy finishes to create a more convincing result.
Vinyl, laminated graphics, printed imagery, faux greenery, fabric, acrylic, lighting, electronics and dimensional details can be added when paint alone cannot create the complete display.
WhiteClouds evaluates the complete project before selecting a fabrication approach. A large geometric logo may rely heavily on hotwire cutting. A relief panel may be routed from one side. A character may begin with five-axis or robotic machining and then receive extensive hand sculpting. A complex public display may combine several methods with an internal frame and reinforced coating.
Customers do not need to choose the machinery. The important starting information is what the finished object needs to do.
Most complex foam projects use more than one fabrication method.
| Method | Common strengths | Common limitations |
|---|---|---|
| CNC hotwire | Fast profiles, large contours, repeated sections and tapered forms | Limited by the continuous wire path |
| Three-axis routing | Relief, pockets, panels, signs and one-sided surfaces | Limited access to undercuts and hidden sides |
| Five-axis milling | Complex curves and multi-sided geometry | Greater programming, setup and fixturing requirements |
| Robotic milling | Large work envelope and flexible approach angles | Requires careful registration, simulation and surface refinement |
| Hand carving | Expression, texture, subtle transitions and direct artistic control | Labor increases with size, detail and repetition |
| Hybrid fabrication | Uses each method where it is most effective | Requires coordinated sectioning, assembly and finish planning |
Foam is used across many WhiteClouds service categories. Browse examples according to the type of finished project rather than the particular machine or coating used to make it.
Oversized products, branded objects, food replicas, footwear, tools, equipment and promotional props made wholly or partly from carved foam. These projects are commonly created for exhibits, events, retail displays, photo opportunities and public installations.
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Mascots, animals, people, fantasy creatures, sculptural figures and character displays shaped through digital cutting, hand sculpting or a combination of methods. Internal structures and protective coatings can be added according to the project’s scale and intended use.
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Freestanding words, dimensional logos, wall signs, numbers and sculptural message displays. Foam makes it practical to create substantial size and depth while keeping many displays light enough for events, stages, exhibits and temporary installations.
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Rocks, trees, furniture, arches, scenic walls, stage elements and dimensional decor created for immersive spaces. Carved foam can be textured and finished to resemble natural materials, masonry, architecture or fantasy environments.
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Columns, facades, reliefs, molding, ornament, wall features and decorative structures. Foam can reproduce complex forms at large scale and may be reinforced or coated according to the installation and viewing conditions.
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Terrain, exhibit components, interpretive structures, presentation models and educational displays. Foam may provide the primary landform or sculptural volume while other materials add buildings, labels, graphics, lighting and interactive elements.
View examples →Foam is often an efficient way to create large sculptural volume, but the raw foam is only one part of the project cost. Digital design, machine setup, hand sculpting, internal structure, coating, finish, transportation and installation can represent a substantial portion of the work.
For the most useful initial estimate, provide the approximate size, intended use, display environment, delivery location, deadline and any available photos, drawings, CAD files or brand references.
Foam can be used for oversized props, product replicas, characters, statues, dimensional letters, logos, signs, scenery, exhibit components, terrain, architectural details and decorative structures. It may form the entire visible shape or be combined with metal, wood, acrylic, graphics, electronics and other materials.
Common materials include expanded polystyrene, extruded polystyrene and high-density urethane. EPS is frequently used for large lightweight sculptural volume. XPS is useful for layered forms and smoother sheet-based carving. HDU is denser and well suited to detailed routing, signs and architectural components. Many projects use more than one material.
EPS is made from visible expanded beads and is available in large lightweight blocks. XPS has a more uniform closed-cell structure and is generally supplied in rigid sheets. HDU is a denser rigid polyurethane material used when crisp machining, fine detail or a more substantial substrate is needed.
No. A project may use CNC hotwire cutting, three-axis routing, five-axis milling, robotic milling, manual cutting, power carving, hand sculpting or several methods together. The approach depends on the shape, scale, detail, repetition and finish.
Yes. Large, suspended, interactive, moveable and outdoor projects may include steel, aluminum, wood, base plates, mounting hardware, hanging points, connectors and other structural components beneath the foam surface.
A hard coat is a protective surface applied over prepared foam. Options may include epoxy systems, flexible coatings, Polyurea ULXT66, fiberglass and cementitious coatings. The selected system affects surface texture, impact resistance, weight, weather performance and finish.
Polyurea ULXT66 is a sprayed hard coat that creates a durable continuous shell over properly prepared foam. It is commonly considered for public-facing props, characters and displays that need added resistance to handling and abrasion. Its sprayed surface may have a subtle texture.
Yes, but outdoor performance depends on the entire construction system. Foam type, internal structure, hard coat, paint, hardware, anchoring, drainage, UV exposure, temperature changes and maintenance should all be addressed during design.
Some foam projects can be designed for touching, handling, sitting or other interaction. These requirements must be identified early because interactive areas may need stronger frames, reinforced coatings, smoother edges, stable bases and additional safety planning.
Yes. With the appropriate surface preparation and finishing, foam can suggest metal, stone, concrete, masonry, wood, bark, food, skin, scales and many other materials. It can also receive smooth branded colors, graphics, vinyl and mixed-media details.
Yes. Large projects are often divided into modular sections to fit freight dimensions, doorways, elevators and installation access. Connections, alignment features and seams can be planned into the digital model and fabrication process.
Provide the approximate size, intended use, indoor or outdoor location, interaction requirements, delivery location, deadline and any available reference images, sketches, CAD files, product samples or brand guidelines.
Share the approximate size, intended use, display location, deadline and any reference materials you already have. WhiteClouds can help determine the appropriate foam, fabrication method, internal structure, coating, finish, shipping plan and next steps.
