Welcome to a look Inside The Holocron. A collection of articles from the archives of *starwars.com no longer directly available.
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Ben Burtt
Sound Designer, Skywalker Sound
This Article was Originally posted 2023-01-26 00:05:55.
Welcome to a look Inside The Holocron. A collection of articles from the archives of *starwars.com no longer directly available.
(*Archived here with Permission utilising The Internet Archive Wayback Machine)
A Galaxy in Ruin – An Interview with Michael A. Stackpole
Perched on the edge of the galaxy, waiting to pounce on an unsuspecting Republic, is an alien threat bent on domination. The Yuuzhan Vong continue their vicious incursion into New Republic space, and no one — not even the beloved heroes of The New Jedi Order — is safe. The epic novel series that expands the Star Wars universe more than two decades after the Battle of Yavin continues with this month’s release of Ruin, the second book in the Dark Tide paperback duology.
“I was lucky enough to be asked to participate in planning The New Jedi Order story-arc,” says Stackpole. “In March of 1998 and again in 1999 I attended meetings at Skywalker Ranch along with Shelly Shapiro and Steve Saffel of Del Rey; Sue Rostoni, Lucy Wilson, Allan Kausch and Howard Roffman of Lucas Licensing; and authors James Luceno and Kathy Tyers to set up the series, then work out the details of its progressions.”
Stackpole recounts, “The discussions were wide-ranging, starting with the universe as a whole and the characters we wanted to have involved; how the series and characters would evolve and then details like aspects of Yuuzhan Vong society and, yes, the dreaded decision to splash a main character.”
“Because the immunity bubble had been popped,” says Stackpole, “the suspense factor was a lot higher in the novels. If it looked like someone was going to die, the readers could legitimately fear they would die.”
For the first time, one of Stackpole’s novels sits at the end of the timeline. In his past works, his stories have had to rest between the previously published works of others. For instance, his X-Wing series had to set up the events of the coming Thrawn Trilogy. The novel I, Jedi took place concurrently with the events of the Jedi Academy Trilogy.
In the pages of Ruin, one of the New Republic’s own surrenders himself to the Yuuzhan Vong, and is enveloped in a sadistic and alien world built on pain and suffering. Getting into such a destructively intolerant mindset requires an author to tread very carefully, says Stackpole. “Actually, it’s not that tough for me because I tend to read power flows in social situations. With the Vong, the key is understanding the source of power and how it flows.
“When you realize that they reach enlightenment and union with their gods through pain, that kind of calibrates the societal compass, and you plot your courses based on that,” explains Stackpole.
Whereas nay-sayers in the New Republic government were once skeptical of the Yuuzhan Vong threat, the massive Dantooine ground battle in Onslaught’s final chapters have shaken up the complacent. In Ruin, the Republic turns to former enemies as allies in an attempt to stem the tide. By tale’s end, no one can deny the Yuuzhan Vong menace.
“There’s always a need for balance in such novels,” says Stackpole. “Without the light, you can’t have dark. I also needed Chalco to put Anakin in touch with real life and real people, since he so seldom is. And, well, part of the magic of writing is just coming to a point in a scene where you need someone and you begin to realize there’s a role for this character further on in the book. Chalco was just such a guy.”
Beyond the heroes, the theme of family continues even into the dark folds of Yuuzhan Vong culture, where it is revealed that lineage and ancestry are of prime importance to the seemingly heartless villains. “Much of the family loyalty and revering of ancestors came specifically out of my study of Samurai culture. There, the individual is subordinate to the family, which is something of an alien concept for Americans. It’s a great way to contrast that society with our own.”
“Star Wars, as always, is an ‘invitation-only’ venue,” explains Stackpole. “That said, Wizards of the Coast’s folks have been in touch. I’ve written an introduction for the game, and we’re talking about my doing some other things. It will depend upon my schedule and all, but I’m certainly open to doing work in the universe. Being able to participate with Star Wars on any level is just so cool, I’ll dismiss nothing out of hand.”
Ruin is scheduled for release June 6. Here is an excerpt from the book:
Chapter Ten
Corran Horn glanced up from his datapad. “Everything on the checklist is covered. I think we are ready to go.”
Admiral Kre’fey nodded slowly and escorted Corran across the Ralroost’s deck. The proximal docking bay had been cleared of starfighter, leaving a decrepit freighter as the sole occupant. “My engineers have assured me that the Lost Hope will be able to make it off the ship. How much longer it will hold together after that they will now say.”
“I understand, Admiral. We’ve all known this was a gamble from the star.” Corran sighed and slipped the datapad into a thigh pocket on his flight suit. “If it works, great. If it doesn’t, well, make sure others learn from our mistake.”
“Certainly.”
The problem of inserting a scouting team onto an enemy planet was one that had perplexed military strategists for ages. Ships often tried to slip in disguised as space debris, streaking toward a planet like a meteorite, then veering off under power once they were too low to the ground to be tracked. While the lack of an impact would tip the enemy to the fact that something was odd, the scout team could be well away from the area and safely gone to ground by the time investigators tried to puzzle out where they had gone.
With the Yuuzhan Vong, things got a bit more complicated because the New Republic wasn’t certain about the technical capabilities of their scanners. The fact that the Yuuzhan Vong used biologically based tools suggested severe limitations, but without actually knowing, there was no way to put together a sure plan to slip in unnoticed. Absent the ability to go in unseen, the New Republic decided to go for the other extreme and make sure the Yuuzhan Vong knew, beyond a shadow of a doubt, that their security had been penetrated.
Corran boarded the Lost Hope and retracted the gantry. He went up front to the bridge and waved at the admiral. He refrained from touching anything in there. Since the Yuuzhan Vong would undoubtedly investigate the crash, the New Republic knew they’d need trace biological matter in the ship to make the enemy believe the crew had not survived insertion into Garqi. Biomatter had been synthesized and sprayed around in all the logical locations, so any inquiry would have plenty of data to sort out in reconstructing the deceased crew of the Lost Hope.
He worked his way back to the main cargo hold and climbed into a much smaller ship, one of the tiny shuttle craft found on luxury liners. All six of the Noghri were jammed in the back and strapped in place. Ganner sat back with them, looking very large and uncomfortable since his feet rested on equipment and his knees were tucked under his chin. Corran slipped past Jacen and took his place in the forward of the two seats in the cockpit. He buckled on his restraining belts, then pulled on a helmet and opened a comm channel to the Ralroost.
“Lost Hope reporting in. Ready to go.”
“Copy, Hope. Two minutes to reversion.”
Corran initiated the start-up sequence. Both sublight engines came on-line, but the starboard one was producing only 75 percent of its usual power. “Jacen, can you see about bringing Hope’s starboard up at least another 10 percent?”
“As ordered.”
The older Jedi hit a button on his console and reports concerning the Lost Hope vanished, to be replaced by the monitors for Best Chance, the smaller shuttle craft contained within the freighter’s hold. Corran brought its engines on-line, and each reported 100 percent output. Repulsorlift coils reported operational. He hit a button that sealed Chance and made it spaceworthy.
“I’ve got Hope’s engines balanced.”
“Thanks, Jacen, The charges are set and functional?”
“Yes, ready to go on your command.”
“Good, we’re perfect.” Corran forced himself to smile. The plan was simple enough. The Lost Hope would leave the Ralroost and head down, then suffer a catastrophic engine failure. As it plunged into Garqi’s atmosphere, the ship would break apart. Debris would be strewn everywhere, and Best Chance would be able to fly away free. By the time the Yuuzhan Vong collected all of the Hope’s parts and figured out something was going on, the survey team would have returned to the New Republic.
The only Hutt spoiling the party was the lack of a hyperdrive on Best Chance. Without it, the only way the party could leave the system would be by rendezvousing with a larger ship, like the Ralroost. The lack of a hyperdrive made emergency extraction very tricky, but Corran knew that if they needed to get off Garqi in a hurry, they’d already be in enough trouble that there was no guarantee they’d ever get a chance to escape into hyperspace.
Corran flicked his comm unit over to address Ganner and the Noghri. “Get set for a wild ride. No guarantees on this one, but with any luck, we’ll all get out of it alive.”
Jaina’s X-wing shot free of the magnetic containment bubble over the Ralroost’s belly launch bay. She brought the fighter around on a heading that tucked it into the Rogue Squadron formation above Garqi. Anni Capstan, Jaina’s wingmate, designated Rogue Twelve, came up behind her, then Rogue Alpha, a recon X-wing piloted by General Antilles, completed the formation.
Colonel Gavin Darklighter’s voice came strong and steady through the comm channel. “Two flight, you’re on the snoop; One on my polar, Three below. Lock S-foils in attack position.”
Major Alinn Varth followed Gavin’s orders with a quick comment. “On me, Three. Tighten it up, Sticks.”
Jaina suppressed a smile. Because she was a Jedi and carried a lightsaber, and because she used a flight stick to control the X-wing, her compatriots had given her the call sign Sticks. She took it as a sign of acceptance, which was good, since she was a lot younger than the others in the squadron and didn’t have a fraction of their experience. They didn’t look down on her for those lacks. However, and had even bragged about her to some of the new recruits.
“As ordered, Nine.” She nudged the stick to port, bringing her into proper position in the formation. Jaina glanced back at the R2 unit riding behind her. “Sparky, pipe up if I slip out of formation again.”
The droid beeped an acknowledgment.
Colonel Celchu’s voice came through the comm channel. “Rogues, Flight Control here. We have ten skips coming up from Garqi. Intercept is plotted, being sent now.”
Data scrolled up on Jaina’s primary monitor, and Sparky tootled as he assimilated it. The skips–more properly, coral-skippers–were single-pilot fighter craft, similar in purpose to X-wings. But utterly dissimilar in design. Unlike X-wings, which were manufactured, skips were grown, forming a symbiotic union of various creatures that provided a hull, propulsion, navigation, and weapons for the stony ships. The pilot interfaced with the fighter through a hooded device that fed impressions to him and received his orders by reading his brain waves.
Jaina shivered. Her uncle had tried on one of the cognition hoods and experienced the contact with the alien fighter. She’d not been offered the opportunity to do the same, nor would she have taken it. Her experience as a Jedi built in her a dislike for anything trying to pick up stray thoughts, and having her head enclosed in a gelatinous membrane while that was going on was just not something she wanted to think about.
She looked at her monitors as the Lost Hope deployed from the Bothan Assault Cruiser’s belly bay. “Nine, I have two skips breaking off to go after Hope.”
“I copy, Sticks. You and Twelve are on them.”
Anni hit her comm unit’s talk switch twice, sending a double click through the channel in acknowledgement of the order. Jaina broke to port and pulled back on her stick, coming around in a tight turn. She inverted, then dived and cut to starboard to make her fist run at the skips.
“I have lead, Twelve.” Jaina flicked a thumb over her weapon-selection switch and linked her lasers for quad fire. She nudged the stick around and dropped the aiming reticle over the lead skip’s ovoid outline. She hit the fire-control button beneath her middle finger, starting the lasers through a fast cycle that spat out dozens of little red energy darts.
The scarlet bolts flew on target until ten meters from the skip, then they bent inward. The dovin basals that manipulated gravity fields to provide the skip with propulsion like-wise shielded it by creating gravitic anomalies. These little voids sucked the light in the like a black hole.
Jaina kept her fire steady, but let the targeting point shift up and back. To properly shield the skip, the dovin basil had to more the void, taxing its energy much as absorbing the bolts did. Finally a few stray bolts got past, scoring the black rock hull. Jaina then hit the primary trigger and sent a quartet of full-powered laser bolts into the skip.
A void picked one off, but the other three hit the skip’s aft hard. Yorik coral bubbled and evaporated in some spots, became fluidly molten in other. In the frigid vacuum of space, the mineral shell hardened almost immediately into an icicle trailing behind the Yuuzhan Vong fighter. The hot stone burned dovin basals and scorched neural tissue that allowed for control of the ship, sending the lead skip into a tight spiral that curled it back down toward Garqi.
The second skip proved to be more evasive. It juked and dove, cutting to port and starboard at random. Shots missed entirely instead of being absorbed by a dovin basal. The pilot had clearly learned that agility in space combat was worth as much or more than shielding. He used his skills as a pilot to avoid the X-wings and to draw ever closer to his target
“Cover me, Sticks.”
“Got it, Twelve.”
Anni Capstan’s X-wing cruised forward and broke hard to port, bringing it in on a slashing attack at the skip’s starboard aft quarter. She sprayed laser darts all over the ship, using her etheric rudder to keep the fire on target, and the Yuuzhan Vong pilot finally had to deploy a void to keep her shots off him. She cut loose with a full quad shot, but the void sucked all four of those bolts in, then the skip bounced up above Anni’s line of flight
Jaina saw the nose of Anni’s fighter come up and wondered for a second why she hadn’t fired another burst. It occurred to her that Anni’s lasers might be recharging, since she had sprayed a lot of energy around to little effect. The skip boosted forward, pulling away form the X-wing, and Jaina thought Anni would lose him since he could now use the dovin basal that had been shielding him to provide more propulsion.
Then fire blossomed on either side of the X-wing’s slender nose.
Throughout the time snubfighters had engaged in combat, a debate had raged over the efficacy of employing proton torpedoes against other starfighters. There was no doubting that the missiles would obliterate a starfighter. The weapons were designed for damaging much larger ships. To use them against a snubfighter was the equivalent of using a vibro-ax to kill an insect–gross overkill
Then again, in combat, can overkill ever be gross?
Jaina couldn’t be sure if the Yuuzhan Vong pilot realized that Anni had waited for him to pick up speed before she fired, or if he died assuming she had just gotten lucky. He did try to deploy another void, but it was late in materializing and only slightly altered the course of the second torpedo. The first one flew straight and true, slamming into the skip’s belly. It detonated in a burst of argent fire that fed up through the fighter like lightning. The fragmenting coralskipper disintegrated before her eyes, with the second torpedo flying through the heart of the blast and detonating a hundred meters beyond it.
“Great shot, Twelve.” Jaina smiled as she looked up at the Lost Hope. She could feel her brother on board. You’re safe now, Jacen.
Then a terrible explosion ripped apart the freighter’s port side, and the stricken ship started falling toward Garqi.
Hitting Jacen harder than the jolt from the explosion was Jaina’s shocked anguish. He’d tried to steel himself for it, having anticipated it, but the grief and sense of loss rolled through the Force all raw and jagged. He wanted to reach out to her, through the Force, and tell her all was well, but he could not.
Instead he pulled himself in, shutting down his presence in the Force. He’d not liked having to deceive his sister about how the Lost Hope would be used to get them onto Garqi, but fooling her had been necessary. No one knew how much the Yuuzhan Vong could read in terms of communications or emotions. Just because we are blind to them through the Force, we’ve no call to assume they are blind to us, too. Only by having the people on the ship and in the fighters think their freighter was going down could they be sure the emotions and communicants would be genuine.
“Jacen, my screen is showing a faulty linkage at J-14 is broken and has released prematurely. J-13 and J-15 are still holding, but pressure is beyond spec already.”
“Sith spit.” Corran turned in his chair enough to glance back at Jacen. “Get the secondary charges ready to go. blow them in sequence two on my mark. Be sharp. Can’t be worrying about your sister right now.”
“Yes, sir.” Jacen brought up the pattern diagram of the sequence two explosions. Six of the eight charges glowed green, but two others showed red. The two nearest J-14. “We have a problem, Corran. The charges near J-14 are bad.”
“Got it.”
Jacen looked past the pilot’s head and at the holographic feed occupying the area of Best Chance’s forward viewpoint.
The feed came from holocams mounted on the Hope’s hull, allowing the pilot to see what things looked like as the doomed freighter hurtled at the planet. The freighter was just beginning to hit the edge of the planet’s atmosphere. Little pieces of the hull began to glow from the friction, with scraps of paint ablating off as sparks.
Corran keyed a comlink. “Ganner, look out the starboard viewport. Can you see the two charges there on the stanchion? They’re blinking red.”
“I see them.”
“Can you use the Force to compress the det-chargers to the point of exploding?”
“Never done it before.”
“Well, we have to do it now. If you can’t get both, just focus on the upper one. On my signal.”
“I copy.”
“Jacen, get ready. Once his goes, you blow yours.”
“As ordered.”
The freighter bucked as the atmosphere became denser. Corran’s hand danced over the command console. He fed power into the repulsorlift coils, which slightly insulated the ship from the tremors wracking the Hope. The Chance shimmied a bit, and stresses mounted on some of the other connectors holding the two ships together, but nothing else released.
The freighter started to turn to port as the jagged hull there began to drag in the atmosphere. Corran fought it and tried to get the ship oriented on a simple flight path, then hit a switch that cut the power on the Hope’s engines. The whole craft lurched, then twisted as the atmosphere battered it.
“Everyone stand by. This won’t be fun or pretty.” Corran hit some switches on his console. “Ganner, blow the charges, now!”
The Force gathered behind Jacen and focused itself on the explosives. The first one blew easily and vanished from Jacen’s screen. Without waiting for the second, the young Jedi hit a button on his console, lighting off the other explosives in a rippling sequence that shattered the aft hull.
Corran hit a switch, and the connectors holding Best Chance inside Lost Hope all released. The smaller ship tumbled free of the shell that had had brought it into the atmosphere. Corran made no attempt to direct its flight or stabilize it, he just let it twist like any other piece of debris. As the ship came around, Jacen managed to look through the viewports and catch a glimpse of the Hope’s fiery descent to Garqi.
The altimeter built into Jacen’s console scrolled off the meters to the planet’s surface dizzyingly fast. Six kilometers shrank swiftly to four, then three and two. Jacen recalled a single klick being their margin of safety and sought any sense of anxiety from Corran as the small ship plunged past that barrier.
He got none, which brought a smile to his face. He could easily imagine his father sitting in the pilot’s chair, waiting and waiting to bring the ship to full power, pushing safety margins that he considered overly generous. Jacen didn’t necessarily think this willingness to undertake risks was part and parcel of being a Corellian as much as it was an artifact of the Rebellion. Pilots then had had to do outrageous things to win the freedom of everyone in the galaxy. For them, prudence gave way to efficacy.
Five hundred and seven meters above Garqi’s rain forest–covered surface, Corran boosted full power to the repulsorlift coils. This marginally slowed their descent but didn’t prevent the ship from plunging into the trees, shearing off limbs, splintering wood, and scatterin a colorful cloud of birds. The Best Chance crashed down through the upper canopy and through the midlevel before the repulsorlift coils met enough resistance in the planet’s mass to bounce the Chance back up.
Corran let the small ship hand there in the air as the purple leaves and gnarled branches strewn over the forward viewport began to shrivel and smolder against the hot hull. “Everyone okay?”
“I’m good.” Jacen glanced back at the others as they all reported in unharmed.
The small ship’s comm speakers crackled. “This is Flight Command Ralroost recalling all fighters. Evac countdown has commenced.”
“Rogue Eleven here. We have a freighter down.”
“We’re aware of that , Eleven. This hip broke up. No life signs.”
Jacen felt a shiver run down this spine. Jaina’s X-wing’s sensors would be too weak to pick up life signs at this great a range, so she had to believe he was dead. Just for a heartbeat he wanted to open himself up in the Force so she’d know he lived, but he stopped himself.
Corran turned and nodded to him. “I know it’s tough, Jacen, but she’ll be told the truth once the ‘Roost pulls out.”
Jacen shook his head. “I don’t think I’ve ever done anything like that to her before–to anyone before.”
“It would be great if you never had to do it again, either, but there are times when a little cruelty now saves more a lot later. It’s an unfortunate part of growing up.” Corran gave him a smile.
“I copy.” Jacen hit a button on his console and punched up a specific frequency. “I have a locator beacon on our contact frequency. Heading two-one-nine.”
Corran ruddered the ship around on that heading and fed power to the engines. The small ship began to move forward sliding through the forest. The branches scraped along the hull, and furry anthropoids scurried away in terror. The ship moved on, letting the purple world of Garqui swallow it and, hopefully, hide them and their mission from the Yuuzhan Vong.
This Article was Originally posted 2022-08-11 16:00:45.
Welcome to a look Inside The Holocron. A collection of articles from the archives of *starwars.com no longer directly available.
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Close Ups and The Big Picture — Jayne-Ann Tenggren
March 25, 2002 – An Eye for Detail
Star Wars movies work on two distinct scales. They are sprawling epics encompassing scattered worlds told on panoramic vistas, and they are also personal stories told in medium and close shots filled with layers of details. Helping balance the big picture and the close ups and keep the detail in check is Jayne-Ann Tenggren, Script Supervisor.
“My job is to look after the continuity of the movie in terms of the story and the action, and provide comprehensive notes for the editors so that they have a reference when they come to cut the picture,” she describes. Her work, too, is done in differing levels of scale, from the day-to-day little tasks to an overlapping larger whole.
During principal photography, Tenggren’s days began with briefings from Writer/Director George Lucas regarding what was on schedule for that day. “George doesn’t really work from a shot list,” says Tenggren. “He has a very clear picture in his mind of what he’s trying to achieve in each scene. He comes to it each day with an idea of what he’s trying to create, and then approaches the actors and communicates to them what it is he’s looking for.”
From then, the shots are rehearsed until everyone involved is clear on the shot’s intent and logistics. “The main purpose of a rehearsal is to decide on the blocking — who’s going to stand where, and at what point do they move from A to B during the scene — so that you can get an overall sense of the entire scene. You also get the emotion of a scene and what’s going to be happening in terms of pacing.”
For every decision made in the rehearsal, Tenggren is there, keeping notes. “In the process, I might be helping the actors with their lines, helping them match action, and providing camera information from the previous set up or any technical support that might be needed,” she describes.
But aside from looking at the picture scene-to-scene, she also keeps an eye on the overall body of work. “If the director says we’re trying to do the main theme of this particular Episode as a love story, for example, then there may be a certain tonality that he wants for the entire film. In certain scenes, it may not be present. In others, it may, But it’s easy within specific scenes to lose a continuity of timing within the film, or to have too much of one tone. That’s something that in my job, I might call out. Also, At a particular junction, if we’re two-thirds of the way through the story, I might be asked to remember that we need to make sure that a certain point is clearly communicated.”
The sheer number of set-ups keeps Tenggren’s job a challenge and her notes extensive. George Lucas’ directorial style comes from his background in editing and documentary filmmaking, which results in a large number of set-ups that he pairs down in editorial. With each set-up, Tenggren’s eye for details is called upon.
“Asking what the average set-up on a film versus what an average set up on Star Wars is kind of an unequal, unfair question,” she says. “An average drama, before this sort of MTV-age, was around between 600 and 700 set-ups for a movie. On Day 59 of shooting Episode II, the main unit alone had done over 2000 set-ups. By the time Episode II is cut, there will be something like 2,200 cuts in the movie.”
Recollections
Tenggren describes herself as knowing the Episode II script backwards and forward. She can identify scenes by their numbers from memory, and recall the various challenges for each one. She was also script supervisor for Episode I, and can readily list differences between both productions.
“There’s more dialogue in Episode II than there was in Episode I, and that’s because the relationships have been built and the story is expanding further and layering the foundation for the next Episode,” she reveals. “The fun part of this script, too, is that you’re getting to see how the characters are starting to develop, and why they think the way they think.”
Tenggren’s memory records more than just the technical requirements of each set-up as she readily recalls her favorite or most challenging shooting days. “My most hilarious moments came about shooting actors who are hoping to jump on a blue blob and sort of bounce around and pretend that it’s some kind of animal,” she remembers. “They’re falling off and trying to keep their composure and stay in role. They’re just wonderful, and cope with it very, very well. They always got up and went for it again.”
The biggest challenges tend to come with scenes with multiple characters, since each one adds another level of blocking and detail that must be kept track of. “In the scene in Palpatine’s quarters when Amidala comes in, we had a scene with many, many characters and everybody was moving around. It was a lot of entrances and exits and some sliding in the blocking and just keeping everybody straight and who goes where among the background extras.”
Conversely, the larger the crowd gets, the easier continuity becomes, provided there’s a clear subject matter for the audience to focus on, as Tenggren can attest to when filming a foot-chase through the backstreets of Coruscant. “The extras essentially become a sort of mobilized mass in that type of environment. We want our audience’s focus to be on 
Despite such careful attention to detail on the job, Tenggren doesn’t let it get in the way of her enjoying other films. “When I go and watch a movie, I don’t think about continuity at all,” she says. “The only thing I think about is the story, and how something is being told in a visual medium. Those are the things that completely captivate me.”
This Article was Originally posted 2022-08-24 13:14:34.
Welcome to a look inside The Holocron. A collection of articles from the archives of *starwars.com no longer directly available.
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Chris Neil: Coaching Vader
Delving into the Power of Myth
Working as a dialogue coach on such films as The Virgin Suicides, The Rainmaker and Jack, Neil has a special talent for getting actors to give their best performances in the most challenging of roles. In fact, he left such a lasting impression on the Coppola family with his work on both The Rainmaker and The Virgin Suicides that he was referred to filmmaker George Lucas as the perfect candidate for the dialogue coach position on the crew for Revenge of the Sith.
At the suggestion of Coppola, Neil met with Lucas and McCallum to discuss his potential role as a dialogue coach for Episode III — a film that would demand some of the most challenging and emotional scenes from its cast yet.
Neil wasn’t exactly a stranger to Lucas either. Neil’s father and Lucas worked closely together on Coppola’s 1969 film The Rain People.
To prepare for what would be some of the most dramatic performances in the Star Wars saga, Neil read the work that first inspired Lucas to tell the Skywalker family tale — Joseph Campbell’s The Power of Myth.
Using a Workshop Environment
“When George shows the visual script to the cast, it’s to give them a physical description of the landscape, the characters and so on,” Neil explains. “But the actors also need an emotional script to help with their reactions between each other during a scene. Anakin’s been gone for this long, what kind of emotions has that brought up for Padmé? How has she dealt with the pregnancy? Is there resentment in the relationship? What kind? How have the characters dealt with separation in the past? How does Anakin feel about the secret now?”
“George said something really interesting when we were at the beginning of shooting,” Neil recalls. “He said, ‘In every shot that you see in a film, there are 100 decisions that have been made. Whether it’s production design or costume or photography or lighting, and it only takes one bad decision to ruin ten good decisions.’ That’s true when it comes to handling an actor’s performance. You can have an actor who is doing an amazing job, but then you can have an actor who has made a wrong choice, and suddenly it throws everything off in the scene. In dealing with the second tier players, and the actors who were just coming in for a day or two who didn’t have the chance to read the script, it was my role was to help them make the right choice so that when they came in to work with the first tier players, it was working in sync. I had to make sure that their presence wasn’t throwing things out of whack.”
“When we had big scenes with a lot of day players like the Senators for example, one of my key functions was to take them aside and work on the scene to help them figure out, in a brief way, what the back stories of the characters were,” Neil says.
Neil found that the workshop environment also helped the more seasoned actors throughout filming. Every Saturday, without the hustle and bustle of the crew, members of the cast, Neil and Lucas would meet on the otherwise empty sets for regular rehearsals.
“I wanted to help the actors find natural reactions to what they were saying,” Neil says. “During the rehearsal sessions with Natalie and Hayden I would help steer them into that place. They’re both very naturalistic actors, but it was helping them make the scenes more personal. I wanted them to grasp the history of the relationship between the two characters and reveal the intimacy of two young people in love with subtler details. Sometimes actors think about the films in a grander scheme, and it’s really more productive to look at it from a scene-to-scene approach so that you can just really focus on how the characters react to one another. For example, what if when Padmé walks into the room, she puts her hand on Anakin’s shoulder? That may not be written in the script, but it suggests a loving moment. It’s those little things that help create a history between the characters, which in turn them more believable.”
Impressive Performances
“I think that since these actors have spent so much time together, that their personal feelings for one another makes a difference,” Neil suggests. “During Episode II, Ewan McGregor took Hayden under his wing, which obviously paralleled their characters’ friendship on some level. All of these actors are great talents and you could see a deeply personal quality of their work. I realize they’re just acting, but it’s always those interesting qualities where the actor’s true life experience mirrors the character’s experience that helps to bring it into greater perspective.”
“Hayden’s an incredibly soulful, deep-reaching actor,” Neil says. “It’s not easy to find the right times to be deep or to just play a young, hot-shot pilot. Hayden has the tendency to go really deep, and which is a great thing for an actor. Even more so than Episode II, Hayden knows he’s dealing with an outcome to a character that everybody’s expecting. So he has to deal with that pressure from the actor’s perspective just as George is wrestling with it from the writer and director’s perspective. How do you tell a story that everybody knows the ending to? And how do you be true to the character? And most importantly, how do you use your best skills as an actor to make the character believable? The last half of the film Hayden is a darker, more-consumed character. As an actor he’s made physical choices that have really accented the scary aspects of the character, which is a testament to his acting skills. There’s a soft side to Anakin in the beginning of the story. He’s really just a young guy in love. But by the end of the tale, he’s very different. It’s been great to see Hayden play that so well.”
In addition to working with the younger actors, Neil found the performance of stage and film veteran Ian McDiarmid inspiring.
“One of the remarkable things for me during this production has been working with a master filmmaker who had such an effect on cinema and has created such archetypal works,” Neil confesses. “Yet he’s still willing to take in this kid and ask him, ‘Okay, tell me what you think I should do with
This Article was Originally posted 2022-09-28 15:44:35.
Star Wars – The High Republic: Path of Vengeance
Meet Marda and Yana – two fierce warriors of the Path of the Open Hand, a group devoted to upholding the sanctity of the Force by refusing to wield its power. All under the watchful eye of their enigmatic leader, the Mother.
Marda’s thirst for adventure leads her on a dangerous mission to the mysterious Planet X where she discovers a host of new creatures to aid her in her quest against the Jedi.
Meanwhile, Yana is battling inner turmoil as she teams up with the father of her deceased lover in a daring attempt to overthrow the Mother’s rule and restore peace to the Path.
As they reach a pivotal moment in their journey, both women must choose their own destiny and in turn, determine the fate of the entire galaxy.
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This Article was Originally posted 2023-05-04 19:08:21.
“Out with the old, in with the new. Brace yourself for the ultimate showdown between the New Republic and the Empire as they gear up for a final battle on the once-deserted planet, Jakku. The Empire, shattered by the Battle of Endor, has scattered its remaining forces across the galaxy. However, the newly-formed New Republic hasn’t had it easy. Their fledgling democracy has suffered a fatal blow from the Imperial remnant, forcing them to take drastic measures and hunt down the hidden enemy.
All eyes are on Grand Admiral Rae Sloane, the most wanted Imperial war criminal, for her role in the deadly ambush. One-time rebel pilot Norra Wexley, back in service at Leia’s urgent request, is leading the hunt. But Norra’s motivation goes beyond loyalty to the New Republic. Her husband was turned into a murderous pawn in Sloane’s assassination plot, and now she seeks both vengeance and justice.
Meanwhile, Sloane is hot on the trail of the treacherous Gallius Rax, the true mastermind behind the Empire’s devastating attack. Rax has gathered the powerful remnants of the Empire’s war machine, preparing to execute the late Emperor Palpatine’s final plan. With the Imperial fleet orbiting Jakku, Republic fighters close in for the ultimate showdown. Norra and her crew fly into the heart of an apocalyptic clash that will leave the land and sky alike scorched. The future of the galaxy hangs in the balance as the fate of the Empire and the New Republic will finally be decided.”
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This Article was Originally posted 2023-04-23 16:40:03.
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The Magic of Myth
Appropriately enough for a fantasy with flight at its heart, many of the images and events in Star Wars are based on the history of military aviation. Imperial TIE fighters and Rebel X, Y, A and B-wing fighters are designed to destroy enemy aircraft in the air and to protect bomber aircraft, just as single-pilot fighters have done since World War I.
The long nose and missile-tipped wings of the X-wing coincidentally bear an uncanny resemblance to the formidable modern-day F-16 fighter aircraft.
The Millennium Falcon is more analogous to a bomber craft in its larger size, crew, and flight characteristics compared to the nimble one-man fighters. Parts of its design was also influenced by real bombers. The Falcon’s quad-laser cannons wells are reminiscent of the 50-caliber machine guns mounted in the waist of the Boeing B-17 Flying Fortress, used in the World War II European theater.
The cockpit of the Falcon features a “greenhouse” style window that is very similar to those of the Boeing B-29 Superfortress, flown over the Pacific during World War II.
The Falcon even faces opponents like bomber planes have done.
The TIE fighter attack on the Falcon in Star Wars: A New Hope follow closely in spirit the World War II fighter attacks on B-17 bombers over Germany.
As Vader flies his special TIE fighter in pursuit of the Rebel fighters, he is continually adjusting certain knobs on the control panel before him. This panel is based on the automatic computing sights developed toward the end of World War II. Accurate targeting with the later model sights still required a certain amount of knob-turning in order to set the target dimension and range control and to track the target.
Star Wars costume elements were also inspired by combat flying uniforms. Around one knee, the Rebel pilots have strapped a belt of flare pistol cartridges, like that worn by the Luftwaffe during World War II. The head gear for the Rebel foot soldiers seen on Endor is based on the British AN-H-15 summer flying helmet.
Naval analogies are often found in science fiction space flight. In Star Wars, the Rebel cruisers and Imperial Star Destroyers operate much like aircraft carriers. Even the docking bays at the Hoth base look like those on an aircraft carrier. And the Star Destroyers themselves actually resemble aircraft carriers in their design, with their V-shaped front profile and prominent island. The geodesic deflector-shield domes and communications tower are reminiscent of an aircraft carrier’s electronic array. 
This Article was Originally posted 2023-01-30 08:05:39.
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Draw Star Wars: The Clone Wars Artist Tips
When you watch Star Wars: The Clone Wars animated series, do you ever wish you could draw Jedi, droids, bounty hunters, clone troopers and creatures like the ones your see on TV? Learn to draw like a Jedi Master with this hands-on workbook — **Draw Star Wars: The Clone Wars — from Klutz.
Written by the editors of Klutz and Lucasfilm’s Bonnie Burton, and illustrated by Star Wars artist Grant Gould, Draw Star Wars: The Clone Wars is packed with tips and techniques, practice space to draw right in the book, and translucent overlays that make tracing a snap.
StarWars.com chats with illustrator Grant Gould about what you’ll find inside Draw Star Wars: The Clone Wars and how to draw like a pro!
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Why do you think this book is a great way for beginning artists to learn how to draw their favorite Clone Wars characters?
It’s a great introduction to the essentials of drawing, such as basic shapes and framework. A lot of people joke that they can only draw stick figures, but what they might not realize is that stick figures are a great first step to learning to draw characters. I think this book will help kids understand that, and allow them to practice drawing in ways they might not have normally thought of.
What is the most common mistake first-time artists make when they are learning how to draw?
I think first-time artists often make the mistake of going straight to the final shaded drawing. They don’t want to deal with the basic shapes and pose first; they want to skip right to the last step, and doing it that way won’t help you improve as an artist.
Why is tracing a good way to begin to learn how to draw?
Many artists teach themselves drawing and anatomy by looking at other artists and by tracing. For example, when I was a kid, I would trace my superhero comics, and I think that helped me in the long run. There’s nothing wrong with using others’ work as a reference and a teaching tool. You’ll find that eventually you’ll begin to do your own thing and your skills will grow, and you won’t need to trace any longer! The knowledge will be part of you, and that’s when you can begin to create your own work and develop your own style.
Why are knowing how to draw stick figures important?
Stick figures are a great way to help beginning artists visualize a character and his or her pose. It breaks down the essential, bare-bones shapes of a character, and makes for the perfect framework for which the artist can then work with.
Who is your favorite Clone Wars character to draw and why?
I love so many of them, but I think Yoda and Ahsoka are my favorites. They’ve got such great character designs, and I really have fun drawing those two.
What was your favorite thing to draw in the book?
I don’t know if I could narrow it down to just one character, but I especially enjoyed all of the more rendered sketches, where I could show a little more detail. But over all, it was a fun variety of stuff.
Who’s the hardest person to draw in the Clone Wars?
Droids are always harder to draw than you think they’ll be. Artoo, for example, looks like he’d be very simple, but the truth is, it’s tough getting those lines just right. Some artists have a natural talent for drawing organic characters, others have a natural talent for the more technical aspects, such as droids and ships. It’s different for everyone.
What is the most important piece of advice you want to give beginning artists?
Don’t be afraid to just dive in and start drawing. The more you practice, the better you’ll get! No one is perfect when they start off, so don’t be afraid to make mistakes.
And with that, Inside the Holocron goes on a short hiatus while I compile some more from the archives.
Star Wars – Episode VIII: The Last Jedi
Get ready to dive into the Star Wars universe like never before! This official adaptation of Star Wars: The Last Jedi, written with the help of the film’s director Rian Johnson, pulls back the curtain on scenes from alternate versions of the script and other additional content.
As the galaxy tries to recover from the ashes of the Empire, a new threat has emerged in the form of the ruthless First Order. But hope is not lost, as a group of new heroes have risen to the challenge of fighting for the galaxy’s freedom. Join Rey, the orphan strong in the Force; Finn, the ex-stormtrooper fighting against his former masters; and Poe Dameron, the fearless X-wing pilot as they fight side-by-side with General Leia Organa and the Resistance.
But the champions of light are up against a formidable enemy with superior numbers and devastating firepower. The First Order’s Supreme Leader Snoke and his merciless enforcer Kylo Ren are determined to crush the resistance once and for all. The champions of light may be facing their extinction, but their only hope lies in a lost legend: Jedi Master Luke Skywalker.
With the action picking up right where Star Wars: The Force Awakens left off, Star Wars: The Last Jedi takes you on a thrilling ride as the battle between light and dark reaches new heights. This adaptation even includes an 8-page color photo insert of awe-inspiring images from the hit movie. So, get ready to immerse yourself in the epic world of Star Wars like never before!
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This Article was Originally posted 2023-05-09 16:35:06.
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Drawing Count Solo
Ever wanted to draw Star Wars characters and vehicles just like the professional comic book artists? In this step-by-step series, Star Wars artists and illustrators show you how to draw some of the most beloved characters in the saga.
Star Wars illustrator Nicole Falk explains with these easy-to-follow steps how to draw a vampire version of Han Solo just in time for Halloween.
Steps 1-4 are to be drawn lightly with a pencil. Finished lines and details will come at the end.
Step One:
Draw lightly with pencil all the basic shapes that make up Count Solo, the vampire! Draw in the oval for the head, the body line for the basic pose and the outline of the cloak. This is where you decide the outline for your pose.
Step Two:
Next, draw a little bit more detail in the form. Make the pencil marks nice and light so you can erase and draw them again if you want to change anything. Since this is a Star Wars Monster Mash up, you can decide which parts of Han Solo you would like to keep and which parts of Count Dracula you would like to use.
Step Three:
Now we’re really going to start making the drawing come alive! I decided to keep Han’s basic outfit underneath and a vampire cloak on top. I added some vampire hair (keeping his sideburns of course) and the Dracula medallion. What details of Dracula or a vampire would you like to use?
Step Four:
Here is where you can add in more details. Draw in his eyes, eyebrows, nose and mouth (most likely smirking). Detail in the belt and the medallion. Don’t forget the fangs! That’s a vampire essential!
Step Five:
Is our Count Solo looking vampirific enough? Then you can go over the pencil with some dark pencil or ink. Use a pen, a dark-colored pencil or a fine tip marker. Be careful, stay on those lines, after all your hard work, keep this part clean! And since you did such nice work on Count Solo, we should get him more comfortable, let’s set up his Carbonite coffin in case he gets tired.
Place him in a creepy stone castle!
Always remember you can use your own imagination too. That is the fun part of drawing, it can be anything you want! Where would you put him? On the Millennium Falcon? In a haunted house?
Step Six:
Now you can color your drawing anyway you want. You can use colored pencils or crayons, watercolors or markers. You can even color it the computer. It’s completely up to you.
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Drawing Darth Talon
Ever wanted to draw Star Wars characters and vehicles just like the professional comic book artists? In this step-by-step series, Star Wars artists and illustrators show you how to draw some of the most beloved characters in the saga.
Darth Talon is a female Lethan Twi’lek Sith Lord who appears in the Star Wars: Legacy comics. Star Wars illustrator Jessica Hickman explains with these easy-to-follow steps how to draw Darth Talon.
Steps 1-3 are drawn lightly with pencil. No pen, no dark lines. Finished lines and details will come at the end.
Step One:
First start with a basic shape for where you want her head. Make sure to draw lines for where you want to put her eyes and nose!
Step Two:
Now draw some quick lines for where her body and arms will be. Darth Talon is a Twi’lek, so you will need to draw where the two tentacles (called lekku) on her head should be.
Step Three:
Next, draw a little more detail in her body, sketching out where her eyes, nose and mouth will be (using your guides from Step one), and putting a little more detail in her arm.
Step Four:
Now it’s time to get even more detailed. Take your time to draw her outfit and her armbands. She’s also a very strong Sith, so you might want to give her muscles. Here I’ve given her strong shoulders from using her lightsaber to fight Jedi!
Step Five:
You’re ready to draw in her tattoos. Her tattoos are normally black, but feel free to fill them in with other colors. Darth Talon has a red body, but Twi’leks can have different colored bodies too, so you could really have a lot of fun making her took just how you want her to.
Step Six:
Here she is finished! Feel free to use whatever you want to color her in. Crayons, paints, markers, even the computer! For mine, I used markers, with a white pen for little highlights.
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Drawing Hammerhead
Star Wars illustrator Amy Pronovost explains with these easy-to-follow steps how to draw Hammerhead.
Steps 1-6 are to be drawn lightly with a pencil. No pen, no dark lines. Finished lines and details will come at the end.
Step One:
In the middle of your paper draw a long, vertical peanut shape. The peanut is slightly thicker at the bottom than at the top. Very close to the top of the peanut, draw an oval.
Step Two:
Not only is Hammerhead’s head tall and skinny, but it’s also very long! Lightly draw a circle which overlaps the peanut slightly. The top of the circle should be half way up the peanut. Give Hammerhead a little body by drawing an upside-down U that overlaps the circle and the peanut.
Step Three:
Lightly start to add some details to Hammerhead. Draw some circles for eyes. Following the shape of the peanut and then curving off to the right, draw the mouth. Also draw the bottom of his head by drawing a line slightly within the circle. Draw a table for Hammerhead to sit at by drawing a skinny oval.
Step Four:
Give Hammerhead an arm and a hand, and add a sleeve. The little circle on the table will become his other hand. Give his eyes a little glint!
Step Five:
Add some detail to the hands. Give hammerhead three sausage-like fingers on each hand and draw a knobby wrist. To cap it off, give Hammerhead a tasty glass of Juri juice to hold.
Step Six
Lightly draw a line down the middle of Hammerhead’s face, following the contour of the peanut shape. Add five horizontal lines to give his face a bumpy texture. Also draw some lines in his mouth. As Hammerhead has a snazzy Tatooine shawl, start adding some details to the tie.
Step Seven
Polish off your Hammerhead with some more details to his clothing, and add a little shading. Go over only your most important lines with a darker pencil or a marker.
Step Eight
If you want you can add some color to Hammerhead with markers, pencil, crayons, paint or even on the computer! Now your hammerhead is ready to enjoy the mellow tunes of the Cantina band.
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Retro Star Wars Masks – Admiral Ackbar
Click on the image to download the PDF.
Instructions:
Enjoy.
This Article was Originally posted 2023-04-04 08:00:02.
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Drawing Jabba the Hutt
Ever wanted to draw Star Wars characters and vehicles just like the professional comic book artists? In this step-by-step series, Star Wars artists and illustrators show you how to draw some of the most beloved characters in the saga.
As one of the most notorious crime lords of the Outer Rim Territories, Jabba the Hutt was one of the last unsightly characters smuggler Han Solo wanted to cross paths with in A New Hope, and Princess Leia wasn’t too happy to hang out with his crew in Return of the Jedi either. But Jabba’s slug-like legless body makes him a fun character to draw. Star Wars illustrator Katie Cook explains with these easy-to-follow steps on how to draw the slimy crime boss Jabba the Hutt.
Steps 1-4 are to be drawn lightly with a pencil. No pen, no dark lines. Finished lines and details will come at the end.
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Drawing Kit Fisto
Ever wanted to draw Star Wars characters and vehicles just like the professional comic book artists? In this step-by-step series, Star Wars artists and illustrators show you how to draw some of the most beloved characters in the saga.
Star Wars illustrator Noah Albrecht explains with these easy-to-follow steps how to draw Jedi Master Kit Fisto from The Clone Wars animated TV series.
Steps 1-3 are drawn lightly with pencil. No pen, no dark lines. Finished lines and details will come at the end.
Step One:
Lightly sketch in pencil Kit’s skeleton in the pose that you want him to have. In this particular one, Master Fisto is harnessing the dual lightsabers, crouched down and ready for action! The reference lines that go down the middle of his chest and head show where Kit is facing, and help give your drawing more depth as you fill in shapes as you progress through the next steps. For the lightsabers, draw a very light line to remind you where to put the energy blades. Make sure to do the same for Kit’s tentacles, so you know where to draw them in later on.
Step Two:
Use your pencil to loosely fill in the areas to define the shape of Kit’s figure. This is where you use those reference lines in his head, tentacles, chest, etc. in order to fill out the Master Jedi in more detail.
Step Three:
Now on to inking. Before you start, I recommend using a pen that is both “archival” (meaning it doesn’t fade over time) and “waterproof” (in case you want to use something like watercolors to color your masterpiece). For this particular drawing, I used a Copic brush pen which lets me draw both thick and thin lines with the same pen.
Use your pen to carefully go over your pencil drawing. Ink everything except the area where the lightsaber blade will be. This is very important for the last step. Take your time, and make sure it’s as clean as you can possibly make it, or if you work loose and sketchy that’s cool too. Once you’re happy with it, wait a few minutes or so for the ink to dry (usually 5 to 10 minutes). Once it is dry, take your eraser and carefully erase all of your leftover pencil markings except for the line for the lightsaber blades.
Step Four:
On to coloring. I colored my drawing on my computer using Adobe Photoshop. However, you can pretty much use anything you want for this, like watercolors, markers, colored pencils or crayons. Remember that light pencil line that I told you to leave for the lightsabers? Color that last so the green and blue colors to make the glowing outlines of the blades, leaving white space in the middle — simulating the awesome energy core of the lightsabers! Once you’re finished with the blades, erase the pencil line. You’re finished.
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Drawing Mace Windu
Ever wanted to draw Star Wars characters and vehicles just like the professional comic book artists? In this step-by-step series, Star Wars artists and illustrators show you how to draw some of the most beloved characters in the saga.
Star Wars illustrator Noah Albrecht explains with these easy-to-follow steps how to draw Jedi Master Mace Windu from The Clone Wars animated TV series.
Steps 1-4 are drawn lightly with pencil. No pen, no dark lines. Finished lines and details will come at the end.
Step One:
Lightly sketch (in pencil) Mace’s skeleton in the pose that you want him to have. The line that goes down the middle of his chest represents “the line of action” (kind of like a spine), which is responsible for setting the tone and personality of the character that you are drawing. In this case, it’s Mace Windu, so I drew the line of action to show off the Jedi Master’s bold stance and leadership. For the lightsaber, draw a very light line to remind you where to put his infamous blade of purple energy.
Step Two:
Use your pencil to loosely fill in the areas to define the shape of Mace’s figure.
Step Three:
In this step (still in pencil) sketch in all of the details in his face, clothing and lightsaber hilt.
Step Four:
Now on to inking. Before you start, use a pen that is both “archival” (meaning it doesn’t fade over time) and “waterproof” (in case you want to use something like watercolors to color your masterpiece). For this particular drawing, I used a Faber-Castell Pitt pen with a brush tip which lets me draw both thick and thin lines with the same pen.
Use your pen to carefully go over your pencil drawing. Ink everything except the area where the lightsaber blade will be. This is very important for the last step. Take your time, and make sure it’s as clean as you can possibly make it. Once you’re happy with it, wait a few minutes or so for the ink to dry (usually 5 to 10 minutes). Once it is dry, take your eraser and carefully erase all of your leftover pencil markings except for the line for the lightsaber blade.
Step Five:
On to coloring. I color my drawing on my computer using Adobe Photoshop. However, you can pretty much use anything you want for this, like watercolors, markers, colored pencils, or crayons.
Remember that light pencil line that I told you to leave for the lightsaber? Color that last. Use the purple color to make a glowing outline of the blade, leaving white space in the middle — simulating the awesome energy core of the lightsaber! Once you’re finished with the blade, erase the pencil line. You’re finished!
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Drawing Manga-style Battle Padmé Amidala
Ever wanted to draw Star Wars characters and vehicles just like the professional comic book artists? In this step-by-step series, Star Wars artists and illustrators show you how to draw some of the most beloved characters in the saga.
Graphic storytelling is a respected and centuries-old art form in Japan, and since the end of World War II, comic books — known in Japan as “Manga” — have remained the country’s dominant medium of entertainment. And over a period of at least the last twenty years, Manga have become increasingly popular with international and especially North American audiences. While every Manga artist has their own artistic flare, you can definitely see similarities in the style as a whole.
The biggest difference you’ll notice in the way Manga is drawn from comics in the Western world is the enormous eyes that the characters all have. With larger than life highlights, and refined detail, the contrast in shape and value really make the eyes “pop.” While this can often make the characters appear childlike, it also opens the door to making expressions and moods visually interesting.
Here our own Star Wars illustrator Matt Busch explains with these easy-to-follow steps on how to draw a Manga-style portrait of Padmé Amidala ready for battle on Geonosis.
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Drawing Mara Jade
Ever wanted to draw Star Wars characters and vehicles just like the professional comic book artists? In this step-by-step series, Star Wars artists and illustrators show you how to draw some of the most beloved characters in the saga.
Trained since childhood and honed into a weapon, Mara Jade learned self-sufficiency, piloting, marksmanship and talents in the Force while serving her dark master, Emperor Palpatine. Initially, Mara was to assassinate Luke Skywalker, but over time she fight alongside, fell in love and married Skywalker.
Star Wars illustrator Sarah Wilkinson explains with these easy-to-follow steps how to draw Mara Jade.
Steps 1-4 are drawn lightly with pencil. No pen, no dark lines. Finished lines and details will come at the end.
Step One:
First start by drawing a circle towards the top of the paper. This will be the main section of the head.
Step Two:
Next add the lower jaw. You now have a side view of the basic head shape!
Step Three:
Add the neck — which is long and slender.
Step Four:
Next draw guide lines for Mara’s facial features. Pretend these lines are pieces of string being draped over the face. They follow the shape of the head. Draw a line horizontally across the center of the shape. Then draw a line vertically down the center. Make sure the line is leaning towards the left since her head is angled to the left.
Step Five:
Next are facial features! The eyes go on the vertical line. The left eye sits centered in the left half of the head. The space in between the two eyes is the length of one eye. Halfway between the eyes and the bottom of the chin is the nose. Halfway between the nose and the bottom of the chin are the lips!
Step Six:
Now add more shape to the rest of the body. At the front of the neck, add a long and graceful line to indicate the shape of the rib cage. Next, add a smaller circle to the other side of the neck. This is the shape of the arm and shoulder area.
Step Seven:
After adding that circle, now we can draw two straight lines from the edge of the circle. This will make Mara’s strong arms. Next extend the “rib cage line” down to the rest of the chest. Add a line indicating where her back is.
Step Eight:
After finishing the eyes, draw in the nose and the lips. As the nose protrudes from the rest of the face, a shadow is cast under the nose. This helps give a 3-D look. The lips are drawn with a slight shadow underneath the lower lip, because it also protrudes from the rest of the face. The upper lip is slightly darker than the lower.
Step Nine:
Next add the hair. Mara has beautiful, curly, red hair, so feel free to look at a picture of someone with long curly hair, it helps to have a picture to refer to. As this drawing gets closer to being finished, start to erase your facial feature guide lines. Also start to indicate Mara’s clothing. Here I added a sleeveless shirt hole.
Step Ten:
Add lot of detail to the hair. Each lock of hair gets light and shiny as it bends out and catches light, and gets darker as it bends into itself. Add some shadows, based on a light source coming from above Mara, shining down. Have fun and keep drawing!
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Drawing Pointillism Princess Leia
Ever wanted to draw Star Wars characters and vehicles just like the professional comic book artists? In this step-by-step series, Star Wars artists and illustrators show you how to draw some of the most beloved characters in the saga.
Star Wars artist Kevin Graham explains with these easy-to-follow steps how to draw Princess Leia using the Pointillism art technique, which is a way of using multiple small dots to create a realistic-looking picture.
Steps 1-3 are drawn lightly with pencil. No pen, no dark lines. Finished lines and details will come at the end.
Step One:
Make a rough sketch of Princess Leia or can take any other pencil drawing you have done and use this technique on it. Draw a basic head shape with an oval and a curved line through it to indicate where the nose will be and where to line up the eyes, mouth, etc. Then draw her robe and blaster. You will erase the lines as we go on.
Step Two:
Next draw in Leia’s facial features, eyes, nose, mouth and hair. They don’t have to be perfect since you will be creating all the detail in Pointillism.
Step Three:
Erase the lines you used to draw the face. Draw in any extra lines you want in the robe, etc.
Step Four:
Switch from using a pencil to a pen. I prefer to use a .18 Rapidograph pen and sometimes even a .13 pen which creates even smaller dots. They are a bit expensive so you may want to start with a less expensive Micron pen with the smallest size of .005. Outline the edges of Leia with a strong dark line, as well as her head, robe, nose, etc. Then draw the outlines of her eyes, draw in lashes, eyebrows, etc.
Start shading her face at the darkest area you want shaded and work outward. To do this start by tapping dots with your pen but not too hard or you’ll break the point. Start to overlap them in the area you want darkest. Then start to move away from the dark area to where you want it lighter. Draw a less number of dots and make them further apart. This will make a nice fade. You can always practice on scrap paper first to get the technique down.
Step Five:
Next, work on her bun of hair. Start from one point, curve your line while you draw and then pull the pen up quickly from the surface when you get to an area you want it to thin. By doing this numerous times the layers of hair will begin to build up and look like real hair.
Step Six:
To finish the hair start in the opposite direction but stop before you get to the hair you already drew. This will give you the effect of light shinning off the hair. You can finish all the rest of the hair by drawing lines in the direction you want the hair to go. The thicker you want the hair, the more layers of lines you make. Even though it’s a black and white drawing you can determine the hair color someone has by either using less lines for blonde hair or use lots of layers/lines for darker hair.
Step Seven:
You can now finish up shading in the face and do any touch ups needed in the hair.
Step Eight:
Now you can color in the blaster. I didn’t want the blaster to be over-detailed so I colored a lot in solid black with some shading in Pointillism. This brings your attention up the blaster to her face. Remember dark (more dots) to light (less dots).
Step Nine:
To shade her robe follow the lines you drew for the flow of the cloth. Start from the sections where the blaster causes shadows and work your way from lots of dots to less and further away. Do the same for the creases of the robe. You can see the sample of shading again in the red box.
Step Ten:
Finally, erase all the lines we used to follow throughout the drawing process. I often will go back and adjust shading by adding more dots, more lines in hair, etc. Now you can take any ordinary drawing and turn it into a highly-detailed photo realistic drawing!
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The Clone Wars Episode Guide: Cloak of Darkness
Episode Air No.:9
Original Air Date: December 5, 2008
Production No.: 10
Written by Paul Dini
Directed by Dave Filoni
Key Characters: Ahsoka Tano, Luminara Unduli, Viceroy Nute Gunray, Count Dooku, Asajj Ventress, Clone Commander Gree, Senate Guard Captain Argyus
Cast:
Matt Lanter as Anakin Skywalker
Ashley Eckstein as Ahsoka Tano
Olivia d’Abo as Luminara Unduli
Tom Kenny as Nute Gunray
Nika Futterman as Asajj Ventress
James Marsters as Captain Argyus
Dee Bradley Baker as clone troopers
Corey Burton as Count Dooku/Senate Guard
Ian Abercrombie as Darth Sidious
Tom Kane as Yoda/Narrator
Episode Brief: Ahsoka and Jedi Master Luminara escort captured Viceroy Nute Gunray to trial, unaware that Count Dooku has dispatched his deadly apprentice assassin Asajj Ventress to free the prisoner and eliminate the Jedi.
Notable: All female warrior fight between Ventress, Luminara and Ahsoka; written by comics | animation superstar Paul Dini; directed by series supervising director Dave Filoni.
“Ignore your instincts at your peril.”
Newsreel: Viceroy Gunray captured!
Senator Padmé Amidala has scored a
victory against the Separatist Alliance
on the remote world of Rodia, securing
the arrest of the diabolical Confederate
leader, Nute Gunray. The Jedi Council
has dispatched Master Luminara
Unduli and Anakin Skywalker’s Padawan
Ahsoka to escort the Viceroy to Coruscant
under heavy guard. Once there, he will
face trial for his many war crimes….
A Republic frigate carrying Luminara Unduli and Ahsoka Tano lifts off from Rodia, soaring toward the Venator-class Star Destroyer Tranquility. Senate Commando leader Captain Argyus clears the frigate for landing within the cruiser’s ventral hold. Aboard the Tranquility, the Jedi march a shackled Nute Gunray down its cold corridors, escorted by Clone Commander Gree. Gunray wails about this “miscarriage of justice,” and demands his litigator, but there’s no sympathy to be found as the viceroy is handed over to Argyus and his commandos. Ahsoka is confused as to why Gunray rates such elevated levels of security, but Luminara advises her not to underestimate the viceroy.
Elsewhere in space, within a Separatist fleet, Count Dooku bends on one knee to receive the holographic presence of Darth Sidious. Dooku’s dark master worries about Gunray’s capture, for the spineless Neimoidian is not likely to last long under Jedi interrogation, and could spill all sorts of valuable secrets. Dooku assures Sidious that he has already dispatched his most trusted assassin, Asajj Ventress, to infiltrate the Tranquility and either free Gunray, or permanently silence him. Sidious is skeptical about Ventress’s abilities, but allows Dooku to proceed. After Sidious’ form vanishes, Dooku turns to Ventress and stresses the importance of her mission.
The Tranquility breaks orbit from Rodia as Gunray is secured in his ray-shielded cell. Luminara is coolly questioning him. The Jedi Master senses Gunray’s fear that he may lose the power and wealth given to him by the war. Desperately, Gunray claims innocence. This infuriates Ahsoka, who erupts in a show of anger; she ignites her lightsaber, and holds it to Gunray’s neck. He scurries into a corner, terrified. Luminara scolds Ahsoka for brandishing terror as a weapon. Ahsoka sheepishly explains she wasn’t serious, but thinks that the coward Gunray will only talk if scared enough. Gunray composes himself, ready to negotiate.
Just then, a tremor shakes the ship. Gree gets a status report from the bridge: the Tranquility is under attack. Vulture droids buzz the bridge, and a trio of thorn-shaped boarding ships darts toward the cruiser. Gree orders Green Company to prepare to repel invaders. The spiraling boarding ships spear into Tranquility‘s ventral spine, their blade-like nosecones sticking through the hangar bay ceilings beyond. These nosecones blossom open, disgorging super battle droids into the hold.
A firefight erupts as Green Company arrives to blast away at the infiltrators. They are overwhelmed by the super battle droids, who push their way deeper into the ship toward the detention levels. Luminara and Gree depart to assist the hangar troops, but Master Unduli orders Ahsoka to remain with the prisoner and Captain Argyus.
After the fighting in the hangar bay has subsided, Asajj Ventress emerges from one of the boarding vessels. A wounded clone survivor takes a shot at her, but she easily deflects it and beheads him before he can get out his call of warning. Asajj picks up the fallen clone’s gauntlet comlink and then cuts her way into the Tranquility‘s ventilation systems.
The inexorable super battle droids march through the interior corridors of the Tranquility, as clones hunker down to repel them, sealing dilating blast doors to slow their progress. Master Luminara and Gree arrive at a cross corridor, and ambush the droids. She and Gree cut through them, eliminating the infiltrators, but Luminara does not feel their troubles are over.
Elsewhere, Ventress emerges in the engine room of the massive vessel. A simpleminded Treadwell, 327-T, is inspecting the ship’s inner works, shining its luminous photoreceptors into various nooks and crannies, but it fails to spot the stealthy assassin. A clone captain and a fellow trooper enter the reactor room to check for any signs of infiltrators, but their cursory glance reveals nothing. The clones ask the Treadwell to keep an eye on the place before moving on in their patrol. Asajj slinks around, careful to stay in 327-T’s blind spot. She affixes explosives on several key spots around the reactors, and then makes her way back to the grate unnoticed.
In the detention center, Ahsoka teases Gunray since its evident the attempt to rescue the viceroy has failed. Suddenly, she spots Ventress’ twin lightsaber blades carve an entrance into the detention center’s control room. Ventress drops into the room from a hole in the ceiling and quickly subdues the two commandos on duty. Ahsoka ignites her lightsaber blade, and squares off against Ventress. She orders the commandos to open fire. The remaining three commandos on duty — Captain Argyus included — try to blast Ventress, but she deflects their bolts back at them, dropping two of them, and leaving Argyus standing. She tosses Argyus aside with the Force, and continues pressing on Ahsoka.
Asajj slips past Ahsoka and runs to Gunray’s cell. She deactivates the shields, pulling Gunray out and kicking Ahsoka in! Gunray relishes this reversal as he reactivates the shield, locking Ahsoka inside.
Just then, Luminara and Gree arrive in the cellblock, and the Jedi Master charges down the corridor, her lightsaber ignited. Using the Force, she opens Ahsoka’s cell, and the Padawan emerges, lighting her blade and flanking Ventress who now has to deal with two combatants. Ventress seemingly surrenders, lowering her weapons, raising her arms… but she grins as her timed explosives in the engine room detonate.
The whole ship is rocked by the blast. Ventress takes advantage of the distraction and bowls over Luminara. She runs to the open turbolift tube and dives in, spearing her lightsabers into shaft wall to slow her descent, leaving a pair of molten metal trails in her wake. Ahsoka tries to impulsively follow her down the open shaft, but Luminara stops her just in time to avoid being smashed by a descending turbolift car.
Argyus examines the status boards, and reports the grim news. Security doors, turbolifts, communications and propulsion systems are all haywire. But all is not lost. The commandos are still in possession of Gunray. Luminara orders the guards to be extra vigilant while she sets off to stop Ventress. Ahsoka implores Luminara to let her help, but Master Unduli orders her to stay in the detention block.
Unduli arrives in the smoldering engine room, where she is promptly pounced upon by Ventress. Asajj cuts through a nearby vent, blasting a jet a steam into Unduli’s face, momentarily blinding her.
Ahsoka is not happy to be left behind, especially since she has firsthand experience dealing with Ventress. She voices her frustrations to the guards. Argyus seems to sympathize with her, and states that sometimes being a good soldier is doing what you believe is right. Gree, however, voices the opposite view: that following orders matters above all else. Gunray, unhelpfully, offers that he would never do anything that would risk his own neck. At Argyus’ nudging that Gunray is in safe hands, Ahsoka leaves her station to help Master Luminara.
The duel between Jedi Master and dark assassin intensifies, moving from the relatively safe upper platforms into the thick of the reactor chamber fires. Ventress cuts through some heavy machinery, sending it crashing down at Luminara. Luminara uses the Force to keep the debris from crushing her, but is nonetheless pinned by a heavy pipe. Ventress closes in for the kill.
Ahsoka rushes in, Force-pushing Asajj in the middle of the assassin’s leap. Ventress goes hurling into the debris as the Padawan runs to Luminara’s side. Ahsoka cuts Luminara free, and braces for her rebuke, but there’s no time. Ventress emerges from the wreckage and attacks anew. She leaps into the upper levels, but the Jedi give pursuit. Hidden in the shadows, she activates a signal on her wrist gauntlet.
At that exact moment in the detention center, Captain Argyus receives a signal on his gauntlet. He suddenly spins around and coldly blasts his fellow commandos. He turns to blast Gree, but the clone trooper takes cover. Argyus opens Gunray’s cell, and holds the viceroy hostage in front of him, knowing that Gree will not kill the valuable Separatist prisoner. Argyus is a traitor: he’s being paid a fortune by Count Dooku to deliver Gunray.
In the engine room, the Jedi find someone stirring in the debris, but it’s only 327-T. As they work their way deeper into the ruined chamber, Luminara concedes that she did underestimate Ventress, and that she does need and appreciate Ahsoka’s help. Just then Gree communicates to Luminara, informing her of Argyus’ betrayal. The Jedi start to rush back to the detention level. Ventress resumes her attack.
The standoff between Argyus and Gree continues, with a whining Gunray in between. Argyus feels confident behind his Neimoidian shield, but Gree targets his blaster and shoots the weapon from Argyus’ hand. The commando captain shoves Gunray at Gree, distracting him, and then kicks the clone’s blaster from his hands. It’s down to fisticuffs. The two soldiers circle each other. As a clone fervently loyal to the Republic, Gree cannot understand Argyus’s betrayal. Likewise, Argyus cannot understand Gree’s commitment to “empty servitude.” Argyus lunges for Gree’s fallen blaster, but Gree steps on the weapon and delivers a stunning blow to the side of the commando’s head. But all the while, the two warriors have taken their eye off Gunray. The viceroy slams Argyus’ discarded blaster rifle butt onto Gree’s unhelmeted head, knocking him unconscious.
With Viceroy Gunray free, Argyus signals Ventress in the engine room. Her mission accomplished, Ventress activates several leftover explosives to cover her escape, leaving Ahsoka perilously dangling over a battered catwalk to be saved by Luminara.
Argyus and Gunray escape to the Republic frigate in the Tranquility‘s hold. With the Star Destroyer in such turmoil, its outer shields are down, allowing the smaller vessel to ease out of its docking bay. Ventress, meanwhile, cuts her way to an escape pod bay and launches from the crippled ship. Luminara and Ahsoka are a few steps behind and witness the pod launch towards the frigate.
Captain Argyus gloats about his success as Asajj comes aboard. He cockily mentions that he’ll ensure Ventress’ contributions to their rescue efforts will be noted in his report to Count Dooku. Ventress suddenly drives her lightsaber into Argyus’ back, killing him.
Aboard the Tranquility, communication systems have been restored. In the bridge’s war room, Ahsoka and Luminara confer holographically with Yoda and Anakin Skywalker. Yoda is troubled by the treachery of Captain Argyus; the Jedi are coming to realize that they are surrounded by enemies. On a more positive note, Luminara reminds her fellow Jedi that Gunray fled in a Republic ship, which can be tracked. Master Kit Fisto’s fleet was near the viceroy’s last known position. Fisto is tracking the signal, determined to recapture the Separatist leader.
“I am a man of great wealth, and I can be very generous to my allies.” — Nute Gunray
“That is a very tempting offer, Viceroy. In the meantime, I have a gift for you.” — Clone Commander Gree shackling Gunray.
“I know nothing!” — Nute Gunray, under interrogation
“Tell us what we what we want to know right now, or I will gut you like a Rokarian dirt-fish!” — Ahsoka Tano, interrogating Gunray.
– “If it isn’t the hairless harpy.”
– “If it isn’t Skywalker’s filthy, obnoxious little pet. Stand down, little girl, and I’ll give you a cookie.”
– “How nice of you. Tell you what. I’ll give you a merciful death.” — Ahsoka Tano versus Asajj Ventress.
“Open this door and I’ll buy you a planet!” — Nute Gunray
“Don’t shoot! I’m an innocent pawn!” — Nute Gunray (He really shines this episode).
This Article was Originally posted 2023-04-17 08:00:19.
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Drawing R2-D2
Ever wanted to draw Star Wars characters and vehicles just like the professional comic book artists? In this step-by-step series, Star Wars artists and illustrators show you how to draw some of the most beloved characters in the saga.
The spunky and adventurous astromech droid R2-D2 not only is an excellent ship mechanic and computer expert, but his bravery towards his friends helps them get out of tricky situations all throughout the saga. He’s no ordinary droid, that’s for sure. He’s also a postal superstar, with hundreds of R2-D2-styled mailboxes popping up across America. Try finding one of the cool R2-D2 mailboxes near you and draw his portrait!
Star Wars illustrator Grant Gould explains with these easy-to-follow steps on how to draw a cartoon-style R2-D2.
Steps 1-5 are to be drawn lightly with a pencil. No pen, no dark lines. Finished lines and details will come at the end.
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Boba Fett On The Empire Strikes Back, That Crazy Suit, and the Star Wars Legacy
Vanity Fair article from October 8th, 2010 by Mike Ryan. Featured on starwars.com (hence its inclusion here)
Jeremy Bulloch: The only thing that I thought was a bit strange was when I was shown a small figure of Boba Fett and I hadn’t even started filming, and they said, “Well, this will be given away if they send in [proofs of purchase].”And I didn’t understand what they were saying at all. Obviously the figures became very important much later on.
Then, there was just the off figure. And I thought it was amazing, “look, I’m in plastic, already.” This was before the first day, and I thought they might not like what I do and get rid of me. But now, of course, there’s so many things that are being made and in incredible detail—and Boba Fett is an ideal character to have because he has so many gadgets on his armor and his weaponry.
Well, I have (Laughs)—this is quite sad, now, really. I do have the big Boba Fett by Don Post, which I went to America to model for. I have that and I have lots of little trinkets and things like that. Only of Boba Fett, because I’m biased.
It’s interesting, considering your theater background, that you played a character in which we don’t even see your face, let alone hear your voice.
The voice of Boba Fett was dubbed over by another actor. Were you saying the lines on set?
So you knew, unlike David Prowse (who played Darth Vader) in the first film, that the voice would be redubbed by another actor?
I’m assuming that the outfit isn’t conducive to actual bounty hunting.
(Laughs.) No, no. It is possibly the most uncomfortable costume I’ve ever worn. As they clicked the jet-pack into position, you’d lean back. It was top-heavy and you were almost falling over. And the backs of your legs and your feet—at the end of it you’d just long for a hot bath.
You were in three Star Wars films. If I’m not mistaken, you were in Revenge of the Sith.
Yes, I had a little cameo role as Captain Colton.
Irvin was wonderful because you knew, as an actor, exactly what he wanted. He’d occasionally say, “come on, come on,” and you could see he was saying we had to get this shot in. Richard Marquand I’d met before and he was a lovely man. He said, “Jeremy, you know, you were in the last one, you know what to do. Don’t you?” I said, “well, yes I do, but it’s always lovely to have the director say, ‘no, no, no, that’s wrong,’” I quite like that. Because if you’re an actor who says, “well, what I do is obviously what is best,” it’s sometimes not right. I think it’s wonderful having a director leading you through.
Well, I don’t know. As I said, I do like someone to direct you. And, as you say, Irvin kershner would say, “do it like this.” And you go, “O.K., fine.” But when they say “action,” you put a little of yourself in it. The director thinks that is exactly what he said, but, in fact, it’s quite a bit of what you want.
There’s a transcript in the book from the set of the Carbon Freezing Chamber where Harrison Ford and Carrie Fisher were having a huge, real-life argument. Could you tell there was tension between the two?
The funniest part of that transcript is when David Prowse interrupts kershner during the fight to offer him a signed copy of his new book, Fitness is Fun. Did you get a copy of Fitness is Fun?
Um, no. Well, I have seen it, actually, but I haven’t read it. I prefer to read my book because, as I said to David (Prowse), because it’s in English.
No, that was a good impression.
I hope that’s true, because even as a kid I remember thinking, “wait, Boba Fett was killed by Han with a stick by accident?”
How did your other role in Empire, as the Imperial Officer, come about?
I was sitting down waiting to do a Boba Fett scene—the one where I was firing in Cloud City at Luke Skywalker—and they said, “Jeremy, Jeremy, quick, get changed.” I went to wardrobe and they took the Boba Fett outfit off and put me in this Imperial Officer’s outfit. There was no one available to play the part, so that’s what it was.
No, I’ve said before, if I hadn’t fit in the outfit, I wouldn’t have played the part. There was only one costume. My half-brother, Robert Watts, was an associate producer and he said, “Look, get your agent on to this. It’s not very much, but you never know.” So I went back and put the outfit on. And that was the interview with producer Gary Kurtz, putting bits of the outfit on and it fit like a glove. I always say to people, “It was meant to be.”
(Laughs.) I didn’t even know that. Well, that’s good. I’ll have to start practicing a Yoda voice. That’s brilliant.
And you received a lot of fan mail asking if you were the “other” that Yoda mentions.
It sounds like you’ve gotten more meaning with what’s happened in the 30 years after the movie was released than you did actually filming.
I feel there’s a lot of people in your position who may resent talking about Boba Fett because, as you said, you just happened to fit a costume.
This Article was Originally posted 2023-01-31 08:05:58.
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Drawing Ahsoka Tano
YOU WILL NEED:
STEP ONE
Using a pencil, begin with very simple shapes. The goal is to create a framework and then build on top of that, slowly adding in more shapes and details. Start your drawing by creating a stick figure type of pose, using circles to indicate Ahsoka’s head, shoulders, hands, waist, and knees, and then add lines to connect them, as shown in the example. Remember, it’s best to keep your lines very light. This way you can easily erase and redraw them if need be.
STEP TWO
At this point, before we get too far with the over all pose, it’s a good idea to draw the outline of Ahsoka’s head tails. This was can make sure everything looks right in terms of size. You don’t want Ahsoka’s head to be too small in comparison to her body. She’s still a teenager, and proportions can help reflect a character’s age. Once you’re happy with the head tail outline, go in and add the little triangle shapes around her face, as well as ovals indicating where her eyes will go. They should be about halfway between the top triangle and her chin. Let’s also take this moment to draw a few simple lines and shapes to indicate where her belts and accessories will go.
STEP THREE
At this point it’s a good idea to start creating the outline of her body. No need to make anything too detailed right now — just quick, simple shapes and outlines to show you what her arms look like, legs, where the top of her boots are, etc. Again, make sure your pencil lines are very light — you don’t want to make anything too final yet; you may still want to make a few changes to your sketch.
STEP FOUR
Now you can start placing your smaller details, such as the stripes on her head tails and the diamond shapes on her leggings. This is also the perfect time to draw in a rough circular shape to indicate where her nose will be, and a little squiggly line for her mouth. Obviously these will be fleshed out a bit more in the following steps, but starting with simple, loose lines like this can really give you a nice feel for where everything should be. You don’t want to draw a perfectly detailed mouth, for example, and then realize you drew it a little too high on her face. It’s easier to start simple, figure out the placement of everything, and then go in and tighten up your detailed lines.
STEP FIVE
Just like the last step, we’re adding in a few more details, such as the markings on her face, the edges of her outfit, gloves, etc. You can also flesh out the shape of her belts a bit more, too, including her belt buckle and the little metal squares on either side of the buckle that hold her lightsabers when she’s not using them. Last but not least, go ahead and draw in the basic shapes of her lightsaber handles. Ahsoka has her own unique way of holding the sabers, so the pose I’ve provided reflects that.
STEP SIX
If you want to give your drawing a clean, finished look, you can add inks over your pencil lines. This can be done with a variety of pens or markers (personally I’m a big fan of Faber Castell’s artist pens). Just trace over the lines you want to keep, and when you’re done (make sure you let your ink lines dry), go ahead and erase the pencil lines.
STEP SEVEN
Now, using bolder pencil lines, you can use your lighter sketch lines as a guide, and essentially trace what you’ve created thus far. Having basic shapes and a rough sketch will help give you the confidence and skill to create a great looking final drawing. You can add in as many or as few details as you like, and if you want, you can add some shading, too.
STEP EIGHT
And here’s a color version that I created digitally in Photoshop. You can use markers or crayons or whatever you like. However you decide to finish your drawing is completely up to you!
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Drawing Qui-Gon Jinn
YOU WILL NEED:
STEP ONE
Drawing lightly with a pencil, create a simple framework.
STEP TWO
Using his shoulders and elbows as a guide, draw the outline of his robes.
STEP THREE
Roughly sketch in the main edges of his clothing, hair, and lightsaber.
STEP FOUR
Add more detail to his outfit and lightsaber.
STEP FIVE
Now you can focus on the head. Use thin lines to show the flow of his hair. Take note of his mustache, beard, forehead, nose, and other details that make Qui-Gon unique.
STEP SIX
At this point, you should have a fairly detailed pencil drawing. Once you’re happy with how it looks, you can go over your lines with pen, marker, or heavier pencil lines.
STEP SEVEN
Color your drawing, too, if you want. It’s completely up to you!
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Drawing Jedi Younglings
Ever wanted to draw Star Wars characters and vehicles just like the professional comic book artists? In this step-by-step series, Star Wars artists and illustrators show you how to draw some of the most beloved characters in the saga.
Star Wars illustrator Katie Cook explains with these easy-to-follow steps how to draw the cute Jedi younglings — Nautolan boy Zinn Toa, Gungan girl Roo-Roo Page and Rodian boy Wee Dunn — from the “Children of the Force” episode in Season 2 of The Clone Wars.
Steps 1-4 are drawn lightly with pencil. No pen, no dark lines. Finished lines and details will come at the end.
Step One:
Start by lightly drawing your basic shapes.
Step Two:
Lightly begin to rough in some more of the bodies and head shapes.
Step Three:
Now that you have the basic forms roughed in, you can start adding more detail like facial features and hands.
Step Four:
Start adding your final details on the face and clothes. Your pencils are done!
Step Five:
You can use any pen or marker that you’re comfortable with. I use Pigma Micron Pens, but any good black pen or marker will work great! When your ink is dry (and make sure it is!) you can erase all your pencil lines and you’ll be left with nice, clean black lines.
Step Six:
Color, color, color! You can use markers, crayons, colored pencils or even your computer! This drawing was colored using colored pencils.
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Correct Calculations
“If my calculations are correct, this year should be the 10th Anniversary of The Empire Strikes Back!”
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Run, Luke, Run!
There’s never a good lightsaber when you need one!
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The Power of the Fork!
Use the fork, Luke!
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Family Reunion
More than one Vader? Oh no!
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There’s no place like home!
Yes, you’re in Kansas!
