Under this heading we have brought together all the work we’ve done on TV series and feature-length films.

The work begins with the interpretation of the project, when we reach an understanding with the set designer regarding the procedures we’ll follow on each of the parts that will make up the set decoration. Nothing that has not been previously agreed upon with the people in charge is ever built. But as a fundamental part of our activity, we do assume the MANUFACTURING OF SAMPLES, the drawing up of detailed building plans, digitizing all the makeable elements of the project, with numerical control, and the storage of useful graphic references.


Scenography is the outer layer of the decorative presentation of a program, the ambience within which the artistic quality and performance of a production can be duly optimized.

We have come up with some innovations that blend traditional techniques with processes recovered from other sectors of the industry.

The traditional procedure for the creation of textures in interior distributions, on façades, or when transforming exterior spaces, has been, depending on each case, molding papier-mâché, using plaster and gypsum for surface treatment or using drywall and thermo-molded sheets that nevertheless always slightly buckle in the corners, despite the fact that we have an ample catalogue of molds to deal with that. Only the mastery of the painters can ultimately insure that unsightly rough textures be rendered imperceptible and perfect.

The combination of traditional techniques and our mastery in the use and modeling of mortar have resulted in some truly exceptional work, with general daily output of up to 100 m2 per workgroup, with high difficulty index (brick or masonry work), which means mixing and spreading the mortar mechanically, molding and modeling it by hand and grading its density and, thus, the depth of the textured roughness, in situ. The different granule quality of existing mortars allows us to reproduce any texture, from stuccos to bush-hammered granites and masonry, and to make bricks with whatever texture, look and graduated depth is desired, even at the last minute. Pavements undergo a similar process, and that is actually the material that best takes paint and patinas of aging.

In the following menus where there is a selection of images called "PROCESS" where you can see how this process works.

For the construction of modeled applications (capitals, molded corbels and other ornamental elements), the use of plaster, which fractures like stone, is indispensable; it can be shattered, eroded or painted, with the different components of the molding being given the character and depth desired.