Creating a Star Wars Artwork
How to draw a powerful repulsorliftengine augmented with three air-cooled thrust turbines.
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a powerful repulsorliftengine
X-34 landspeeders were a model of landspeeder available during the Galactic Civil War between the Galactic Empire and the Alliance to Restore the Republic. They were built with a powerful repulsorliftengine augmented with three air-cooled thrust turbines, which allowed them to hover up to a meter off the ground.
and an essential part of the Star Wars
The vehicles were fast, but fairly non-descript in appearance, measuring 3.4 meters in length. Following the release of the XP-38, demand for X-34s dropped.On the planet Tatooine the farmboy Luke Skywalker owned an old and battered X-34 which he used to travel through the planet's deserts. He sold the landspeeder in Mos Eisley for 2,000 credits after the death of his aunt and uncle, Beru and Owen Lars, and used the money to help pay for transport to the planet Alderaan. [Via]
Some initial sketches were done to explore angles and sent to the author and Lucasfilm for discussion and approval. After some back and forth the angle was nailed down and the first stage of creating the the artwork for Luke's Landspeeder could begin...
Since no photographs were available of the speeder from the angle Hans Jessen wanted, he drew the basic layout on a perspective grid. These are skills learned in college back in the early 1980's and he still regularly use them. Hans Jessen already added some annotations to explain the thinking to the author and all the other people in the loop who check for continuity and accuracy.
The drawing then progresses through several stages until a fully annotated scan is sent for approval. All parts seen in the movie are drawn with great attention to detail and all the interior bits are designed with a lot of thought and logic, the idea being to try to create a system or component for each function of the vehicle and link them with cables, a power source, cooling, insulation and anything Hans Jessen can think of to try to make the cutaway convincing.
After the finished pencil is approved, it is inked with an Isograph 0.18mm pen.
When the ink is complete, painting can begin. He uses a mixture of acrylic Gouache and standard gouache. Here some base layers of colour are applied in acrylic which can be over-painted without the paint underneath lifting.
Paint is built up layer by layer, adding contrast and texture. He finds it easier to work from the outside in.
Obviously, this work is pretty laborious and Hans Jessen the first to admit it can be a bit of a slog. But the pressure of a deadline keeps the painting going for sometimes 14 or 15 hours a day.
But in the end, the result is hopefully worth it. What do you ink?
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