Background: Stephen McDannell Hillenburg (born August 21, 1961) is an American cartoonist, animator, writer, producer, director, and former marine biologist. He is the creator of the Nickelodeon television series SpongeBob SquarePants (1999-present) which he has also directed, produced, and written. It has gone on to become one of the longest-running American television series as well as the highest-rated show ever to air on Nickelodeon. Born in Lawton, Oklahoma and raised in Anaheim, California, Hillenburg became fascinated with the ocean as a child and also developed an interest in art.
Context: After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California that is dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession.  While working there, he was asked by one of the educational directors if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters--including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but was turned down by the publishers that he approached.  At one point during his tenure with the Orange County Marine Institute, Hillenburg started going to animation festivals such as the International Tournee of Animation and Spike and Mike's Festival of Animation where, at one of those, films made by California Institute of the Arts (colloquially called CalArts) students were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator.  In 1989, Hillenburg enrolled in the Experimental Animation Program at CalArts. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considers his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation.
Question: Between those years did he come up with Sponge bob?
Answer: 

Background: Lyman Frank Baum (May 15, 1856 - May 6, 1919), better known as L. Frank Baum, was an American author chiefly famous for his children's books, particularly The Wonderful Wizard of Oz and its sequels. He wrote a total of 14 novels in the Oz series, plus 41 other novels, 83 short stories, over 200 poems, and at least 42 scripts. He made numerous attempts to bring his works to the stage and the nascent medium of film; the 1939 adaptation of the first Oz book would become a landmark of 20th century cinema. His works anticipated such century-later commonplaces as television, augmented reality, laptop computers (The Master Key), wireless telephones (Tik-Tok of Oz), women in high-risk and action-heavy occupations (Mary Louise in the Country), police corruption and false evidence (Phoebe Daring), and the ubiquity of advertising on clothing (Aunt Jane's Nieces at Work).
Context: Two years after Wizard's publication, Baum and Denslow teamed up with composer Paul Tietjens and director Julian Mitchell to produce a musical stage version of the book under Fred R. Hamlin. Baum and Tietjens had worked on a musical of The Wonderful Wizard of Oz in 1901 and based closely upon the book, but it was rejected. This stage version opened in Chicago in 1902 (the first to use the shortened title "The Wizard of Oz"), then ran on Broadway for 293 stage nights from January to October 1903. It returned to Broadway in 1904, where it played from March to May and again from November to December. It successfully toured the United States with much of the same cast, as was done in those days, until 1911, and then became available for amateur use. The stage version starred Anna Laughlin as Dorothy Gale, alongside David C. Montgomery and Fred Stone as the Tin Woodman and Scarecrow respectively, which shot the pair to instant fame.  The stage version differed quite a bit from the book, and was aimed primarily at adults. Toto was replaced with Imogene the Cow, and Tryxie Tryfle (a waitress) and Pastoria (a streetcar operator) were added as fellow cyclone victims. The Wicked Witch of the West was eliminated entirely in the script, and the plot became about how the four friends were allied with the usurping Wizard and were hunted as traitors to Pastoria II, the rightful King of Oz. It is unclear how much control or influence Baum had on the script; it appears that many of the changes were written by Baum against his wishes due to contractual requirements with Hamlin. Jokes in the script, mostly written by Glen MacDonough, called for explicit references to President Theodore Roosevelt, Senator Mark Hanna, Rev. Andrew Danquer, and oil magnate John D. Rockefeller. Although use of the script was rather free-form, the line about Hanna was ordered dropped as soon as Hamlin got word of his death in 1904.  Beginning with the success of the stage version, most subsequent versions of the story, including newer editions of the novel, have been titled "The Wizard of Oz", rather than using the full, original title. In more recent years, restoring the full title has become increasingly common, particularly to distinguish the novel from the Hollywood film.  Baum wrote a new Oz book, The Marvelous Land of Oz, with a view to making it into a stage production, which was titled The Woggle-Bug, but Montgomery and Stone balked at appearing when the original was still running. The Scarecrow and Tin Woodman were then omitted from this adaptation, which was seen as a self-rip-off by critics and proved to be a major flop before it could reach Broadway. He also worked for years on a musical version of Ozma of Oz, which eventually became The Tik-Tok Man Of Oz. This did fairly well in Los Angeles, but not well enough to convince producer Oliver Morosco to mount a production in New York. He also began a stage version of The Patchwork Girl of Oz, but this was ultimately realized as a film.
Question: What other works did he do during this time?
Answer: