This is the artist's rendering as it was first presented to Reser's. Reser's wanted to see changes in the giant.

This is the final version. Note the difference in the giant's face.

The design department translates the artist's rendering into a detailed scaled drawing. Both a side view and a top view are presented.

For floats with intricate animation, involving large moving parts, a model is made using clay, foam and paper parts; this allows artists and fabricators to discuss the movement and plan the structure.

Every effort is made to create natural looking body parts. Photos of hands are translated into scale drawings for the sculptors.

Many sizes of steel are used in float construction; the most common size for the sculptors is 1/4" cold rolled steel. A "ring roller", an adjustable bending device, is used to help shape the thin steel. Larger diameters and pipes are hand bent.

All of the sculpted pieces have an inner structure made of 3/4" to 2 1/2" pipe, depending on the size of the piece.

After the steel is welded most pieces are covered with burlap. Burlap is an inexpensive, strong fabric with enough flexibility to be stretched tightly over the rod.

To achieve a smooth surface, the burlapped prop is covered with a layer of 1" foam rubber.

The art department uses fiberglass mesh tape to smooth out seams and coats the prop for a smooth surface, ready to paint.

The sculptor constantly checks the dimensions, the symmetry and the integrity of the piece.

Both the "prop" welders and the "grid" welders work on a scale grid painted on the floor. In this case the welder has transferred the vine from the scale drawing onto the floor with chalk.

Under each float is a carefully tuned and constantly maintained chassis. Floats may be built on car, truck or bus chassis.

Welding: 1" pipe and 1/4" cold rolled steel

Surfacing: burlap, mesh tape and elastomeric.

Detailing: latex paint, chalked in design, finish paint.

Once the smaller props are completed the float is ready to be assembled. In this case the shoulders are being added to the deck.

Notice the larger diameter pipes used for the larger structure.

The welders use a crane to help lift the heavy pieces onto the deck.

Here we see the arms being added to the body.

The beanstalk begins to come to life.

Burlap is added to the pieces on the deck. Notice the "skirt" that has been added to the deck of the float.

Intricate animation and a large hydraulic cylinder allow the giant's arm to pursue Jack over a large area of the beanstalk.

Measurements are taken to add trim to the giant's costume.

The sculptor double checks her measurements to be sure the carved features will fit the armature the welders have created.

A six foot high block of urethane foam will be used to created the giant's facial features.

Simple tools are used to shape the form; a common kitchen knife is used to remove large sections of the foam.

The sculptors wear protective Tyvek suits, masks and a special respirator system to keep them from inhaling the foam particles.

The giant is now easily recognizable as he emerges from the block.

A view of the work in progress, taken from a second floor loft at the float facility.

Computer generated vinyl lettering is laid out on a prepared board creating the sponsor's signs. Seeds and rice will be added for cover.

When the carving is complete, the foam is sealed with a hardener and the face is painted with exterior latex paint. Decorators will cover the skin with a white cornmeal mixture, tinted with spices and dried berry powders.

Decorators will spend nearly 1000 man hours adding the cover materials: red dock, strawflower confetti, hops, cardone puffs, red millet, corn polenta, coconut, lavender, raffia, corn husk and many, many others. Every surface must be covered with organic material. In the final hours, florists and volunteers will add 5000 stems of fresh flowers.

Congratulations to Reser's Fine Foods, Inc., winner of the President's Award, given for best originality, excellence and creative design.