If someone asked you who the artist was that originally conceived the iconic look of Star Wars vehicles like the TIE Fighter, The X-Wing, and The Death Star, you might think of famous names like Ralph McQuarrie and Joe Johnston. But before those legends were enlisted to work on STAR WARS, George Lucas first worked with Colin Cantwell. Colin’s partner Sierra Dall joins us “In the Cantina” to discuss Colin’s life, his artwork and she sets the record straight about his contributions to STAR WARS. We check out interview highlights featuring Tony Gilroy and some of the cast of ANDOR as they discuss the upcoming second season. Plus, listener feedback sends us down-the-rabbit-hole as we try to define what a “Bokken Jedi” really is.
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The artwork of the Brothers Hildebrandt was featured on some of the earliest STAR WARS film posters and merchandise and is some of the most famously recognizable art ever created for the saga. Artist Greg Hildebrandt joined us In The Cantina to share behind-the-scenes stories about creating the iconic artwork with his brother Tim, along with the background and history of their well-known images. R.I.P. Greg Hildebrandt!
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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!
**Not an Affiliate link!
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.
Paul Huston
Senior Matte Artist on Star Wars Special Edition
Paul Huston’s most memorable experience with Star Wars was meeting George Lucas, Ralph McQuarrie, and Joe Johnston in a warehouse in Van Nuys in 1975. Twenty years and millions of Star Wars fans later, Huston is working on Star Wars yet again, and as he says, “I am always trying to meet the standards set by those three guys.”
The Star Wars movie that has had the most influence on Huston is, “The first one . . . here it is twenty years later and I’m still working on it! . . . The opening shot with the roll-up and the rebel blockade runner followed by the Star Destroyer always knocks me out.”
Huston has been working on the Star Wars Trilogy Special Edition since January of 1994, creating new shots for scenes in Mos Eisley and Obi-Wan Kenobi’s house on the Dune Sea. Huston has painstakingly matched his Special Edition artwork with the original print of Star Wars to allow new CG creatures, characters, and vehicles to populate scenes in the way George Lucas originally intended. Huston’s biggest challenge is, as he describes: “Doing million dollar work on a shoestring budget.”
When comic book artist and book cover illustrator Dan Parsons first saw a glimpse of a galaxy far, far away, it was unfortunately blocked by a big head of hair.
“My first Star Wars memory was standing in a long line in 1977 to see A New Hope for what seemed like forever,” Parsons recalls. “I ended up having to sit in the very back, only to realize that I was behind a dude with a very large afro! It was, after all, the ’70s!”
Luckily for Parsons, he loved what he could glimpse through the curls enough to realize that he one day wanted to merge his love for Star Wars with his talent for art as a career.
“I think I had a sense that I wanted to be an artist when I was a kid,” Parsons explains. “Around that time I saved up my allowance and bought the Ballantine Frank Frazetta art books, and never was quite the same after that. Although, I didn’t start working full time as a professional until recently, I had been working as a research scientist around 14 years before entering this crazy career.”
As a teenager, Parsons took pride in his work as the cartoonist for the school newspaper and chief illustrator for the school literary magazine — The Pikesville Prism. In college, he majored in science, as well as earning a degree in Fine Art from Towson University in Baltimore. “I can’t say that college had any great affect on me other than exposing me to classical art and giving me a chance to work from the live model,” Parsons admits. “My background in art came from the comic books that I read all through my life. I think my psychology came from there as well!”
Studying both fine art and comics, Parsons says that a number of varied illustrators and artists have influenced his style over the years. “I always cite Frazetta as a major influence, but mostly because his work introduced me into the world of art,” Parsons says. “Hal Foster, Alex Raymond, Al Williamson have remained strong influences on me and newer artists that have really affected me are Dave Finch and Travis Charest. I think Gene Colan has had a deep influence on my storytelling. His sense of flow is unrivaled. And of course, Will Eisner. It was a great honor to recently contribute a piece of art to his tribute book. I’m also really into classic art. The Greek/ Hellenistic style is just the most beautiful art ever created.”
“My current favorite is an illustrator from the early 1900s named Joseph Clement Cole,” Parsons adds. “He had a pen and ink style that is just amazing — loose, but highly detailed. Of the modern comic book artists, I like Dave Finch for scale and mood. I also like the Silvestri/Batt team a lot. I love the sketchy, yet tight, feel they get. My favorite Star Wars artist is definitely Jan Duursema. And I am fortunate enough to be able to work with her on the Star Wars books. Her storytelling is on par with her mentor’s, who I also love, Joe Kubert. I just read his new graphic novel Jew Gangster. He is a true master of simplicity.”
A Creative Partnership
Starting out as a self publisher, Parsons came to be known in the independent comic crowd for his “bad girl” comic, Harpy. His work on the comic earned him enough of a reputation to start getting assignments such as the covers and interior work for the Battlestar Galactica comic. Soon enough, Parsons was onto more projects including the Sci Fi channel’s First Wave comic book. He also illustrated various trading cards projects for the titles Witchblade, Vampirella, Lexx, The Crow and The Lord of the Rings, as well as the ever popular Star Wars Heritage and the Revenge of the Sith sets for Topps.
“I have must have drawn nearly every Star Wars character in the galaxy when you put together the Heritage and the Revenge of the Sith sets,” Parsons smiles. “Of course my favorite will always be Jedi Master Plo Koon! Who else in the galaxy has a small intestine for a face? I like working on the bounty hunters a lot too. Bossk is another face only a mother could love!”
However, before he was sketching his favorite characters on cards for Topps, Parsons found himself chatting with his favorite Star Wars artist — Jan Duursema — in hopes of teaming up with her on a future project. “I was at the San Diego Comic-Con back in 2002 and I had a spot in Artist Alley not far from artist Jan Duursema,” Parsons recalls. “Little did I know she was on the hunt for a new inker. I showed her some of my work which at the time had a real Al Williamson flavor. I think it was a King Kong type piece that caught her eye. I inked some sample pages and we have been working together ever since. We both have a realistic, illustrative approach that works well together.”
For his first official Star Wars project, Parsons was hired to ink an 18-page Obi-Wan/Anakin tale for the double-sized 50th issue of Star Wars: Republic. “I went on to ink the first four issues of Jedi and then Jan [Duursema] and I signed on as the regular team for Republic,” Parsons says. “We worked on the title until the series end with issue #83.”
Parsons continues his creative partnership with Duursema as they tackle the newly released Star Wars: Legacy series. He also has lent his penciling and inking talents on King Kong for Dark Horse. “King Kong was always a favorite of mine so that is a real treat to work on,” Parsons says. “I also continue to work on my creator-owned series Harpy and Savage Planet here and there. Some Harpy stuff is scheduled to come out this summer from Amryl Entertainment. I am also working on an oil painting for a pirate novel called Tales from the Sea. There are other things that are in the works, but I don’t want to get yelled at for ‘giving up the ghost.'”……..
In this exclusive excerpt, learn how the artist worked his way from ILM intern to the art department and beyond. starwars.com Team
Warren Fu has made his mark on the short-form video world, from award-winning commercials to award-winning music videos, with some of his clients including such powerhouses as Adidas, PlayStation, Taco Bell, and Samsung. However, his trailblazing career began in the art department at Industrial Light & Magic on the Star Wars prequels.
In an exclusive excerpt from Star Wars Insider issue 213, the creative force behind the design for General Grievous tells writer James Floyd how working on the saga was just the first chapter of an incredible journey in visual storytelling, from art assistant to film director….
Star Wars is a mostly paperless galaxy. When characters want to convey visual or text information, they don’t unfold a map or scribble something down on a steno pad. Instead, they turn to advanced display systems that project their information in lines of colored light.
Episode II has more holographic readout displays than any previous Star Wars film, and creating those images fell to Philip Metschan, a graphic artist working at Industrial Light & Magic’s art department.
Metschan followed a winding career path that landed him, quite unexpectedly, in a role creating images for the big screen. Having studied art at Oregon State University, Metschan hit the professional scene as a web designer, working in New York for prestigious clients like Gucci and Armani. “I noticed that ILM had a graphic designer position, which doesn’t open up very often. I sent in my portfolio, and was out in the area for a conference and had an interview. Two weeks later, I was on a plane, moving to California,” recalls Metschan.
Metschan began working on the web redesign and launch of the official sites for ILM and Skywalker Sound. “It was really busy here at that time,” he explains. “They needed someone to animate the A.I. logo, with the boy walking out of the logo, and everybody was so busy that they gave it to me. I quickly brushed up on a lot of animation programs, and worked with Joe Latteri to put that together.”
From web design to pinch-hitting logo animation, Metschan graduated to Star Wars. “We started getting all the graphic requirements from the Ranch, which, basically is animated graphic design,” says Metschan. “They said, ‘Hey, Phil can handle this.’ And a few years later, 95 percent of the screens you see in Episode II, I did.”
Starting in Photoshop or Illustrator, Metschan use a variety of animation and compositing tools to create the end effects, including AfterEffects, Lightwave, Maya and Commotion. “For the initial designs, I worked much like a traditional graphic designer, but you have to figure out how you’re going to animate them.”
All of the animated on-screen graphics seen in Episode II were added later in postproduction. On set, the actors would occasionally have a backlit colored sheet of plastic film called translights with a design printed on it to aide in effects lighting. “John Knoll [Visual Effects Supervisor] had asked [Production Designer] Gavin Bocquet and his crew to throw in some quick stuff into the set pieces. When actors are interacting with the screens, the screen lights cast different colors on people’s hands or on different parts of the set,” explains Metschan.
While the translights didn’t necessarily dictate Metschan’s finished designs, they did provide some performance cues that needed to be matched. “Ewan McGregor would just point at it. I had to design the screen so that his finger-points fell near something that looked similar to what he was saying, in this case, ‘just south of the Rishi Maze.’ Then Jocasta Nu comes up and, if you’ll notice, she presses the console three times. I told the compositor that I was really careful about timing something that happened on screen with her. They did a great job of timing it up, because if you watch the movie you know that she’ll hit it three times, and these three highlights appear on that screen and then it zooms up to the close-up version.”
In one case, a practical display that was intended as final was replaced entirely by Metschan’s computer-generated one. A background device in the Lars Homestead got a digital touch-up thanks to Metschan’s displays.
“A few times, I was worried about stepping on people’s toes, because these guys had done some pretty cool designs to throw into the sets,” he admits. “I’m a big Star Wars fan, and I noticed right away that it didn’t quite match the graphics from the very first movie. So I took some quick shots, made little movies from the originals, and in a roundabout way, I did my own version to present to George Lucas. I showed him the originals from ’77, then what was on set, and what I was proposing, and he said, ‘Great, that’s right.'”
The recreation of 1970s-era graphical technology was a continuing challenge for Metschan. “You can’t think like a graphic designer that has all the tools that we have at our disposal. You have to think back to what those guys had to deal with back in 1977,” he notes. “They’d use oscilloscopes and other video effects, like kicking the TV three times and turning it on. Being a fan, I really wanted to stay true to that. It did become an even bigger challenge, though, when there were specific storypoints that George wanted to hit. It can’t be ultra-simple if it needs to convey complicated information. If he wants a flying spaceship with a big target on it, you do it, but you can stylize it with color and whatnot to make it look rougher and older.”
Those rough edges also help convey attitude about character, in some cases. For the Slave I, a ship with display screens that hadn’t been seen in the previous films, Metschan used color to suggest character. “You always got a sense that Boba Fett and Jango Fett were these mean, gritty guys. The ship has a look as well that it’s been tossed together. So, I made the displays all in red so it had a sinister look to it.”
Making the Ultimate Weapon
Also in the evil and red department is a cameo appearance that sent a shiver of recognition to many a surprised fan. The Separatists are seen conspiring to build a very familiar and iconic battle station from the original trilogy, identified in Episode II only as an “ultimate weapon.”
“The Death Star hologram and the war room had to be the most challenging,” says Metschan. “Without telling anyone what I did, I stayed late a couple of nights and did my own version that I thought was a little truer to what Joe Johnston and all the original guys had done. I slipped it into [Visual Effects Supervisor] Pablo Helman’s email, and said, ‘Hey, take a look at this; let me know what you think. Maybe I’m overstepping my bounds, but I think this looks more like the Death Star, and maybe it’ll read better.'”
The following week, to Metschan’s pleasant surprise, Helman incorporated it into a shot for Lucas to review. “I was really excited, because I had done it on my own time, and it could have been a total waste of time. But they ended up going with it, and it became a big part of the end of the movie.”
Though the Death Star is key to the scene, the war room is dominated by an expansive holographic map of the battle, with Republic gunships swarming the ground war like buzzing insects. “A lot of the stuff in the middle of the table I did with a couple of the guys in Animatics. They rendered out quick models for me, but I was allowed to art direct the placement of the elements. You’re talking about holograms that have all these really fine lines in them, and you get them on film and they just blow out, so visually and creatively that sequence was probably the most challenging of all of them.”
In addition to a 1970s motif, there is a pre-existing iconography when it comes to alien text. Many fans are familiar with Aurebesh, a Star Wars language developed in the books based off of screen displays in Return of the Jedi. While the Aurebesh, as it has appeared in spin-off products, does appear in the film, Episode II resurrected an original alphabet expressly designed for the classic trilogy.
“The actual font set hadn’t been used since the first Star Wars, and we found Joe Johnston’s original design of the font in the Archives. I took that, turned it into a font, and used it in a lot of different places,” says Metschan. This classic font, dubbed “Star Wars 76” was joined by two new typefaces — “Mandalorian” for the Slave I, and one for the Geonosians. Eagle-eyed fans looking to translate alien phrases into English won’t find that task an easy one.
“Some of the fonts don’t have 26 letters. Some of them only have 19 or 20. I’d be lying to you if I didn’t tell you that, every once in awhile, there’s someone’s initials I know, somewhere in there, if you hold a mirror up and stand upside down and look at it. But George is very, very keen about noticing things that look like English, because he’s very against any kind of English looking characters in any of the screens or signs.”
Of course, careful scrutinizing of the graphics is still rewarding for those well versed in the little details that help tie the saga together. “In Zam’s binoculars I did put something from the original Star Wars in there,” reveals Metschan. “These two grids, and those are from the original Millennium Falcon, when the TIE fighters are attacking when they leave the Death Star. I threw a lot of stuff like that in, just little original things.”
Coruscant Graphics
Even the placement of the luminous Rishi Maze on the Jedi Archive map has provided some conversation fodder for fans, perhaps shedding some light on just what astronomical phenomena Luke and Leia were looking at at the end of The Empire Strikes Back. “I thought about all that stuff,” he says. “Being such a big fan, I do consider who the people that really look into the details of those things. If you’re one of those fans, you want stuff in there that is rewarding.”
Adding to the Star Wars cultural tapestry is the sometimes gaudy but always colorful floating advertisements of Coruscant. Together with Warren Fu, Metschan worked on these luminous examples of corporate branding. One eye-catching sample was a barber-pole like stack of rotating ads delineating a district border during the twisting speeder chase.
“The sequence where Zam turns the corner was supposed to be in the financial district. In [Concept Design Co-Supervisor] Erik Tiemen’s paintings, which we were going off of, there were these glass buildings that were really blue with lots of pinks. It was really grandiose, with a lot of light reflection going on in there. Later on in the process, they decided that things were getting down to the wire and we weren’t going to have the time to spend on that sequence right there. What happened is this really bright sign ended up being put in this dimly lit area, so it just glowed and glowed and glowed!”
The need to populate Coruscant with little details like this was a fun exercise for Metschan, who handled a number of strange requests when it came to providing on-screen entertainment to the patrons of the Coruscant nightclub.
“John Knoll and George had a bunch of funny ideas, like racing chickens, a Podrace on Hoth and nunaball. They threw some stuff together in CG and then passed it down to me to jazz it up,” he recounts. Metschan watched a lot of CNN and ESPN to try to determine the kind of graphical treatment coverage of remote entertainment and sporting events receive. “I ended up recutting the CG, to make it a little more active,” he notes. For example, the Podrace graphic freeze-frames on the winning racer, and then a display notes which Pod placed first, second and third.
For nunaball, wherein a team of droids tackle each other while trying to hold onto a scrappy live nuna, Metschan provided a rotating schematic showing the droid quarterback that got sacked. “It’s fun. You just make up all this stuff. I had originally planned to do a little graphic that pointed out the nuna running away, but I didn’t have time.”
For the odupiendo racing, Metschan added a crucial element missing from the graphic. “We didn’t have a finish line! I put that in. Without it, there’s really nothing. They just run by the camera. It’s all just really silly,” he smiles. “You can have a lot of fun with it, but you have to be responsible and be careful not to put too much stuff in there. At any one time I had two or three screens that I had to do, and I can’t get carried away because I had deadlines to meet the next day.”
Whether crucial to the story or whimsical set dressing, Metschan’s work is necessary to the feel of Episode II. “I really started feeling like an integral part of the production,” he says. “I would never have imagined two years ago that I would, firstly, be working here, and secondly be able to work on Star Wars, and thirdly, be able to work on it from beginning to the very end. Everything just fell in line at the right time.”
In part five of Ralph McQuarrie, Star Wars Concept Artist: Tribute to a Master, concept artist and illustrator Marc Gabanna, Industrial Light & Magic’s Scott Farrar, and others continue their discussion of the industry giant’s work, from his personal style to the wide-ranging impact of his paintings.
This is an excerpt from the Ralph McQuarrie tribute “Dreams and Visions Press” produced for Star Wars Celebration VI in 2012, drawing from interviews conducted for a feature length documentary on Ralph McQuarrie that is currently in production.
In part three of this retrospective on Ralph McQuarrie, concept artist of the original Star Wars trilogy, George Lucas, Dave Filoni, and others discuss his influence on Star Wars: The Clone Wars.
Ralph McQuarrie, concept artist of the original Star Wars trilogy, was essential in bringing the characters, ships, and locales of a galaxy far, far away to life. In part two of this special tribute, Star Wars designer Doug Chiang, concept artist and illustrator Marc Gabbana, and Fan Relations Advisor Steve Sansweet weigh in on the daunting task of following in Ralph’s legendary footsteps and his work’s lasting impact on the Star Wars universe.
Ralph McQuarrie, concept artist of the original Star Wars trilogy, was essential in bringing the characters, ships, and locales of a galaxy far, far away to life. In this special retrospective, Star Wars creator George Lucas, Industrial Light & Magic effects legend Dennis Muren, and many others discuss the impact of McQuarrie, his artistic gifts, and his legacy.
One by one, ILM is completing the Episode I final effects shots, and some of those shots had their genesis in the work of a teenager. Ryan Tudhope is a member of David Dozoretz’s animatics team, which works hard at Skywalker Ranch to provide computer-generated (CG) “pre-visualizations” for most of the shots in Episode I. Brought on to the team in 1997 at age 18 with his friend Kevin Baillie, Ryan enjoyed the unusual experience of walking from high school right into the production team of a Star Wars movie. Producer Rick McCallum had spotted Ryan and Kevin’s high school CG experiments in a documentary, and McCallum kept an eye on the two for the next year. Ryan and his colleague Kevin “worked liked crazy” developing ever-more-sophisticated shots on the computers at their school, sending periodic updates to McCallum and David Dozoretz at the Ranch. Eventually they proved their skill with the Force, and two new Jedi initiates were summoned to Lucas’ headquarters in Northern California.
Ryan wasn’t sure what to expect from his new job. “I figured that David would have us doing only the boring stuff in support of the ‘real’ animatics team. I was all set for that-I would gladly do anything to work on a Star Wars movie!” But it didn’t work out that way. “We were hardly settled into our desks when David had us working on real shots that Martin Smith and George Lucas needed downstairs in the editing suites. I couldn’t believe that we were actually handing our own work straight to the editors. It turned out that we were on the real animatics team.”
“I’d seen their earlier projects,” says animatics leader David Dozoretz, “and when they joined the team we had a ton of shots to produce, ASAP. I didn’t have time for them to mess around. I knew they were capable of really helping and contributing. Rick and I wouldn’t have brought them on board otherwise. I had them doing real shots almost immediately. Once they were settled in with the new software, I threw them into the ‘sink or swim’ production environment. From there on, it was up to them to prove themselves.”
Was it intimidating at first? “Well, yes!” admits Ryan. “It was such a huge responsibility, and there was so much work to do so quickly. But then I learned that David wanted many of the shots in fairly low detail, and I thought, ‘that will save us.’ At least they didn’t have to be perfect. Making them perfect would be handled by ILM.” Actually, the animatics team ended up doing a great many shots with strikingly high detail in the end. On a small monitor you could mistake some of them for the final film-out effects. But thinking in terms of approximations helped Ryan get through the initial shock.
The wonder of it all didn’t wear off so quickly. “It hit me every day straight in the face, for a long time, what I was actually doing. Working at Skywalker Ranch, being part of such a fantastic team, learning so much and contributing to Episode I in a direct way. Sure, we still have a lot of support work to do, it’s part of the job. But it is the most amazing thing I have ever done.”
The pressure has remained high, to produce a lot, to produce it well. “Learning new software is always a little scary. But being part of a team like this helped me get up to speed quickly and learn what I needed to.” But much of what Ryan had to learn was not about technology, but about the art of filmmaking. “I had worked so hard learning CG techniques in high school,” he recalls. “But when I came to work for Lucasfilm I learned how to use those tools in the service of film. It turned out to be about art even more than technique. We were asked to create shots that were not just slick or sophisticated, they had to work in the context of the film and specifically help to tell the story. That is probably the biggest thing I have learned here. Crafting shots for a film is about telling a story, and that is an art more than a science.”
Ryan was also involved in work for the Episode I teaser trailer recently. He was called upon “in a rush, of course,” to work out various color and flare treatments for the logo that appears out of the flames at the end. In three hours, he, like everyone else on the animatics team, had five different treatments to show. The version seen in the trailer is a composite of team efforts. What kind of storytelling went into that? “Well,” Ryan says, “sometimes it is just about making things look cool.”
