Whether you use it as the perfect stocking stuffer, for an office party gift swap, or you just want some convenient content to carry around in your backpack, publisher Insight Editions has the right book for you. For Harry Potter fans we reviewed the detailed MinaLima-designed treasure trove The Art of Harry Potter–Mini Book of Graphic Design a few years ago, and for superhero fans we looked at two volumes of the history of Wonder Woman in comic book covers. These are jam-packed books that literally fit inside your pocket, and the content spans the scope of pop culture and genre. Love Batman? Check. Mickey Mouse? Check. Beauty and the Beast and other Disney favorites? Check.
Today we have previews from four of Insight Editions’ books featuring Star Wars, one with the artwork of Ralph McQuarrie, a two-volume collection of Marvel comic book covers, and another with famous poster artwork that spans the 11 films. Typically available at $11.99 or less, it’s an inexpensive source for the visual details of the movies, production, and marketing that you’ve never seen before, and a quick gift idea for your favorite Star Wars fan.
It’s more likely than not you haven’t heard of Galaxy’s Edge, or Black Spire Outpost, or the remote Outer Rim planet called Batuu. But you have heard of Star Wars. Billions have seen that fictional space fantasy galaxy via movies, books, and a TV series. But far fewer have made their way to Walt Disney World in Florida or Disneyworld in California, and that means a tie-in, real world location event experience is out there that most Star Wars fans haven’t tapped into yet. That’s where Abrams Books’ seventh book in their concept art library documenting the Star Wars universe comes into play. The Art of Star Wars: Galaxy’s Edge will take readers where they’ve never been, a world inspired by the artwork of Ralph McQuarrie just as the movies were so inspired, further springing from 11 movies, three series, and dozens of books. The result is a destination different and new that fans have never seen before. Continue reading →
The next concept artwork and special effects book in the Star Trek franchise arrives tomorrow, this time taking a fresh look at the success and failures in the visual effects created for Star Trek: The Motion Picture, which celebrated its 40th anniversary this past December. It’s all in Star Trek: The Motion Picture–The Art and Visual Effects, by Jeff Bond and Gene Kozicki. Diehard fans of the history of filmmaking will learn more about the most celebrated visual effects masters in the business as they did their best to rescue a floundering production back in 1979. You have today left to pre-order the book at a discount here at Amazon–this will be a welcome addition to bookshelves for fans of the franchise’s first feature film.
As the ninth and final film in the Skywalker Saga arrives in a home video release, the fifth volume from Abrams Books chronicling the entirety of the Disney-era Star Wars concept artwork is here. The Art of Star Wars: The Rise of Skywalker does not disappoint in showing readers the expansive designs for a film that stepped ahead of its predecessor with more ships, more action, more aliens, more weaponry, and more costume designs. Our only hope is that Abrams obtains the rights to create a similar volume continuing this series of books, documenting the first season of The Mandalorian. One thing every fan will notice who has watched all eleven movies in the franchise–more than ever readers can now clearly see elements from each prequel, each original trilogy episode, and each Star Wars Story film incorporated into the sets, ships, and characters in this final installment.
As with the first two books in the trilogy, this look at the Star Wars: The Rise of Skywalker shows paths taken and, more interestingly, paths not taken by production designer Rick Carter, franchise veteran Kevin Jenkins, and the rest of the art design team. This includes alternate costumes for Rey, Finn, Poe, Lando, Zorii, and Jannah, new pilots, stormtroopers, droids, and new worlds of creature concepts. Probably more than the past volumes in the series, this book has close-up detailed views at props, including lightsaber and other weaponry, all in search of that design element that says “Star Wars” to the movie audience.
Phil Szostak lets the artwork take center stage in this fourth book in the series (he also wrote The Art of Star Wars: The Force Awakens, The Art of Star Wars: The Last Jedi, and The Art of Solo: A Star Wars Story, all reviewed here at borg)–prior books had more textual commentary. Star Wars: The Rise of Skywalker (reviewed here and available in all digital formats today), the ninth and final episode in the Skywalker family story in the universe George Lucas created, saw the return of director J.J. Abrams and his strategy of evoking the trilogy to maximum benefit, with many images inspired by original Ralph McQuarrie concepts. So it may come as no surprise that The Art of Star Wars: The Rise of Skywalker feels like a book of original trilogy designs. The artwork from dozens of contributors mirrors the iconography, the color patterns, the lighting, the costuming, and set pieces from The Return of the Jedi especially.
No one could have predicted when the original Star Wars won six of ten Academy Awards in 1978 that a newStar Wars film would be nominated 41 years later. At the end of 2019 all will be known–with Episode IX to be released in December the entirety of George Lucas’s nine-part Star Wars saga will be complete. Although the Skywalker family and its legacy is done, Disney and Lucasfilm will be sure that Star Wars is very far from over. But expect this year to be full of nostalgic products looking back over the course of the four decades since we first saw the words, “A long time ago in a galaxy far, far, away…” Two movie souvenir compilation books will take Star Wars fans across the film franchise. Solo: A Star Wars Story Ultimate Guide presents interviews and photographs behind and in front of the camera from Ron Howard’s film. And today Star Wars: The Saga Begins arrives in book stores, taking a rare look back at the Star Wars prequel trilogy. We have previews of both books for you to check out below.
In Star Wars: The Saga Begins readers will find articles collected from Star Wars Insider, the magazine that has provided fans with the latest fandom and news since 1994. In September 1997 with Issue #35, fans got their first glimpses at what would follow the original trilogy, as publisher and fan club president Dan Madsen provided updates in each issue with producer Rick McCallum. Unfolding until 2005 and beyond, Star Wars Insider provided first looks at new prequel ships, characters, and locations. Interviews explained what was happening behind the scenes of The Phantom Menace, Attack of the Clones, and Revenge of the Sith from the likes of director George Lucas, actors Liam Neeson, Ewan McGregor, Ian McDiarmid, Natalie Portman, Hayden Christensen, Temuera Morrison, Daniel Logan, Samuel L. Jackson, Anthony Daniels, and Brian Blessed, plus concept artists Ralph McQuarrie and Doug Chiang, composer John Williams, costume designer Trisha Biggar, sound designer Ben Burtt and many more. Star Wars: The Saga Begins is packed with concept artwork and prototypes of creatures and props, plus storyboards and costume designs. And it has hundreds of photographs.
A similarly designed look at Solo: A Star Wars Story can be found in Solo: A Star Wars Story Ultimate Guide. Readers will find Star Wars Insider interviews and profiles from director Ron Howard, writers Lawrence and Jonathan Kasdan, actors Alden Ehrenreich, Joonas Suotamo, Emilia Clarke, Donald Glover, Woody Harrelson, Phoebe Waller-Bridge, Paul Bettany, Jon Favreau, and Thandie Newton, plus composer John Powell, creature maker Neal Scanlan, and costume designers David Crossman and Glyn Dillon. The Ultimate Guide is full of good detail shots of the Millennium Falcon and sections featuring the newly designed Imperial armor and ships created for the film.
Here are previews from each book, courtesy of Titan:
Known for providing George Lucas with the original designs for several spaceships for the original Star Wars, concept artist Colin Cantwell has revealed photographs of his actual model ships created for Lucas in 1975. Cantwell, who we discussed here at borg back in 2017, has only in the past few years entered the pop culture convention circuit. For thirty years Cantwell left the movie design business, working at a computer engineering firm in Colorado. Now 87, Cantwell has embraced fans of his early work, traveling the country, signing prints of his original Star Wars concept art from 1974-75.
At the same time noted artist Ralph McQuarrie was designing characters and environments in his concept art for Lucas, Cantwell designed the first concept artwork for the X-Wing and Y-Wing Fighters, the TIE Fighter, Star Destroyer, Death Star, T-16 Skyhopper, and the original Millennium Falcon, which was rejected and repurposed as Princess Leia’s ship, the Tantive IV Blockade Runner–the first ship seen in the film. He designed two other ships that were not used in the film, his Landspeeder and Sandcrawler. Cantwell has been selling prints of his concept art for the past two years, but this month he began to release images on his Facebook page and website of the actual, original models he made–based on his own designs–that he presented to Lucas in 1975. He’s selling autographed prints of these images now on his website here.
His models were “kitbashed”–he used existing plastic model kit parts and re-purposed them to make a real-world feel for his ships (and without the time, effort, and cost required for molding his own parts). Industrial Light and Magic would use this concept to create the Star Wars aesthetic, and set decorator Roger Christian used the idea with real world tech to make the future look lived-in, earning an Oscar for doing so (Lucas offered Cantwell the opportunity to create and lead ILM, but he declined). Cantwell used the body of a dragster kit, painted pill bottles, plastic Easter eggs, and a WWII bomber turret among other model kit parts.
Cantwell’s original designs were substantially used for the final production models, but Cantwell’s actual T-16 Skyhopper model was used by Mark Hamill as Luke’s own ship model in an early Tatooine scene. Most recently, Cantwell was recognized by Disney and Hot Wheels with a series of replicas, including his Millennium Falcon/Tantive IV, TIE Fighter, X-Wing Fighter, Star Destroyer, and the unused Landspeeder design.
From Star Trek V: The Final Frontier to four Next Generation movies and the J.J. Abrams Kelvin timeline movies, and Deep Space Nine through the Enterprise and Discovery series, concept artist, illustrator, prop designer, and model maker John Eaves has designed ships and objects familiar to any sci-fi fan. This Tuesday the eagerly anticipated behind-the-scenes book Star Trek: The Art of John Eaves arrives from online retailers and book stores, and we at borg.com previewed a copy. Just as you would expect, the book is full of hundreds of concept art designs, most of them ultimately used for the final model or CGI renderings seen on film. John Eaves has developed his own style over the years, so in the past decade when even passing fans saw a ship on the big or small screen, they could usually tell when Eaves designed it. Take a look at our preview pages from Star Trek: The Art of John Eaveshere.
Eaves tells his story, referencing those artists of film that inspired him, some he would work with directly and others he admired from his youth: Joe Alves, Ron Cobb, Greg Jein, Grant McCune, Robert McCall, Nilo Rodis-Jamero, Ralph McQuarrie, Joe Johnston, Richard Edlund, John Dykstra, Syd Mead, and others. The shifting look of Star Trek, its ships, and props, began to take on a new look with his designs for the Enterprise-B in Star Trek Generations, which required a modification to the Excelsior model to accommodate a key scene featuring Captain Kirk. For the update to the ship Eaves incorporated a design from the World War II Catalina PBY-5A airplane. Eaves grew up near an airfield, where he was first given a pad and pencil to make his own illustrations, and his understanding of aerodynamics can be found throughout his work. And as Eaves tells it, Star Trek designer Michael Okuda would often be nearby to point out relevant components to incorporate.
The Eaves design aesthetic is unmistakable, in the elegant Vulcan lander and Phoenix rocket in Star Trek: First Contact, in the arc-shaped Son-a warship concepts in Star Trek Insurrection, in the removal of the “neck” and compact configuration of the Enterprise-E, and in the Reman Scimitar, the Romulan Valdore, and Scorpion fighters for Star Trek Nemesis. The artist says his Discovery designs were inspired, surprisingly, by the rocket that took Taylor away and back in the original Planet of the Apes. You can see the inspiration in the view of the ship from below.
At long last Star Wars fans have a single volume of behind-the-scenes gold that includes more than the original trilogy and the prequels. Writer Mark Salisbury returns with his next pop culture book, The Moviemaking Magic of Star Wars: Creatures & Aliens. This is the first book to include coverage of all ten Star Wars films, and it’s the first book that digs into the creature makers and makeup artistry of all the Star Wars movies–a creature effects companion to those comprehensive books reviewed previously here at borg.com chronicling the costume and prop sides of Star Wars productions: Dressing a Galaxy, Sculpting a Galaxy, and Star Wars Costumes.
How many movie franchises can claim visual effects over four decades incorporating all levels of monster making: animatronics, puppetry, practical effects, costuming, CGI, sculpts, animal actors, prosthetics and makeups, stop-motion animation, and motion capture creations–sometimes all in a single film? The book spans it all: Jawas, Tauntauns, Jabba the Hutt, Yoda, Chewbacca, the Rancor, Ewoks, Watto, Jar Jar, Darth Maul, Rathtars, Maz Kanata, Porgs, Crystal Foxes, Proxima, Rio Durrant, and so many background aliens from the Tatooine cantina, Jabba’s palace, Maz’s castle, the Pod Race, Kamino, Geonosia, and Scarif. More complex characters from the franchise get the most coverage, with less coverage from Revenge of the Sith and Solo.
Readers will learn about and meet a variety of artists and creators of these creatures and aliens, with interviews and examples of the work of Stuart Freeborn, Rick Baker, Dennis Muren, Phil Tippett, Jon Berg, Ben Burtt, Fred Pearl, Frank Oz, Kathryn Mullen, Lorne Peterson, Nick Dudman, Rob Coleman, John Coppinger, Tom St. Amand, Richard Edlund, Ken Ralston, Kit West, Nilo Rodis-Jamero, Doug Chiang, Dave Elsey, Neal Scanlan, Luke Fisher, Ben Morris, Darek Arnold, some of the actors who performed costumes characters, and visionaries George Lucas, J.J. Abrams, and Gareth Edwards. Select concept art is included from Ralph McQuarrie, John Mollo, Iain McCaig, Terryl Whitlatch, Jake Lunt Davies, and others, and readers will learn Doug Chiang’s five rules of concept design.
Keeping with the fun new trend of incorporating three-dimensional, interactive elements into non-fiction books, Abrams has included foldout flaps, accordion pages, and color tipped-in booklets of sketches, photographs, and stages of the creative process. The book comes from Abrams’ Young Readers imprint, however, the in-depth information and rare or never-before-published photographs and sketches will appeal to all ages of Star Wars fans.
Fans of the original Star Wars trilogy and the new film Solo: A Star Wars Story should take note of the fourth installment of Abrams Books’ Star Wars artbook series. The Art of Solo: A Star Wars Story by Phil Szostak not only looks behind the scenes of the production of the second of the modern anthology movies and fourth of the modern sequels, it reveals the finest and the most evocative Star Wars-styled concept art created since The Empire Strikes Back. Taking a different path from the episodic sequels, the creators that imagined the look for Solo took their inspiration directly from the work of Ralph McQuarrie (original trilogy production illustrator and concept artist), Joe Johnston (original trilogy ILM art director), Harry Lange (original trilogy art director and set decorator), and Colin Cantwell (the first Star Wars spacecraft designer), concept artists behind the original Star Wars movie. Including artwork both used for the final creation of sets, effects, and costumes, as well as imagery that didn’t make it to the final cut, The Art of Solo provides visuals fans back to the 1970s have only dreamed about.
Solo is also the first movie of the post-Disney period of Star Wars to draw back to the actual input from George Lucas for more than merely sketches and early descriptions of his earliest ideas from 1973. Lucas was involved from the beginning, planning a Han Solo movie since before the Lucasfilm sale, and so this sequel has inspiration and concept direction from the creator of the franchise himself. Lucasfilm/ILM lead concept designer James Clyne, production designer Neil Lamont, costume designers Glyn Dillon and David Crossman, Neal Scanlan‘s creature department, and Rob Bredow and Pat Tubach‘s visual effects team were aware of the unique challenge facing this film–creating something faithful to the original trilogy and beloved characters while also taking the look and feel of the space fantasy into new territory. The result is a film full of different worlds that still feels “Star Wars-y,” as the designers call it. For this film, that meant a Western homage mirroring the American journey of settlers from the East Coast to the West Coast, and also importing story elements found in Akira Kurosawa’s Westerns, among many other classic films.
Many of the portraits and landscape paintings are poster-worthy. Earthbound physical locations were tracked down to define new worlds Corellia, Mimban, Vandor, Kessel, and Savareen, along with CGI renderings, all to look like they belong in the Star Wars galaxy. As Star Wars was created in the 1970s–taking place ten years prior to the original Star Wars–the artists looked for styles and ideas from the 1960s via movies, bands, computers and technology, and other cultural influences for costumes and set decorations. So before Emilia Clarke was cast as Qi’ra, images of the character needed to establish her locations and costumes included drawings that look very much like Grace Kelly. Incorporating images of younger versions of both Harrison Ford and Billy Dee Williams were obvious choices for creating their first looks, like the duo at the gambling table where Lando would lose the Falcon to Solo. But soon Alden Ehrenreich’s image became the face of Han Solo. All along, Chewbacca was Chewbacca, only the crew aimed to convey a different view of the Wookiee, where having all his hairs styled in place was no longer important–this was the young, wind-blown companion from the past, the one quicker to tear someone’s arms off.
Timed for release as part of the 40th anniversary celebration of Steven Spielberg’s Close Encounters of the Third Kind, fans of Close Encounters finally get one of the most eagerly awaited, behind the scenes looks at the quintessential UFO film as Harper Design releases its hardcover chronicle this week, Close Encounters of the Third Kind: The Ultimate Visual History. And it’s everything fans of the film could hope for.
Known for his work as a publicist on more than fifty films, author Michael Klastorin worked with Sony Pictures and Amblin Entertainment to unearth rare and never-before-seen imagery from their archives. The book is a stunning collection of on-set photography, concept art, storyboards, and recollections of the cast and crew to create a visual narrative of the film’s journey to the big screen and through the entire production process. First created as a story idea by Spielberg in his twenties, Close Encounters is still considered by Spielberg as one of his most personal projects. Spielberg recounts his efforts to sell the film, his attempts to get a known screenwriter to write it only for him to finally decide to write it himself, and his original story synopsis, which remained hardly altered. Spielberg initially wanted to reflect Watergate in his film to reflect the current zeitgeist, something of a government trying to cover up the aliens like Project Blue Book, but by the time the film was far along in pre-production it was determined audiences were tired of conspiracies as the sole defining theme. Spielberg’s discussion of his early vision seems very similar to what Chris Carter would develop more than a decade later in his television series The X-Files.
Except those who are no longer with us, all of the players you’d expect provide contributions in the book. Actor Bob Balaban provides some of the most interesting stories from the set, including his casting process for the film and development of his working relationship with internationally known director and film co-star Francois Truffaut. Richard Dreyfuss’s recollections focus on his campaigning Spielberg to be cast for the role, the difficulty in the Nearys’ location shoot for the family home, and his realization from his very first discussions about the project with Spielberg that Close Encounters would stand up as a noble film pursuit. Melinda Dillon’s role changed throughout the shoot, cutting one scene for financial reasons and adding the scene where she has the revelation that Devil’s Tower is the image in her dreams. She also filmed much of the movie with a broken toe, followed by another leg injury caused on-set jumping from a helicopter.
The most fascinating behind-the-scenes effects discussion comes from Doug Trumbull. His UFO storm development effect work was extraordinary. You’ll find location photographs, visual effects explanations and process development discussions, photos of the Mother Ship model and other set models, concept art from Ralph McQuarrie, and many views of the film’s extra-terrestrials.
