Written by Phil Szostak
Foreword by Doug Chiang
Published by Abrams Books
There’s nothing more nostalgic than perusing an “Art of” Star Wars book. Every image ignites the very same childhood imagination first set aflame by Ralph McQuarrie’s original concept art all those years ago.
Having reviewed a few Star Wars “Art of” books (Art of The Mandalorian: Season One is sadly not on that list,) I was very pleased to experience that The Art of Star Wars: The Mandalorian – Season Two was in no way a rehash of the same type of information presented in previous “Art of” releases.
Writer Phil Szostak organically introduces Star Wars fans and aspiring artists/designers to the latest ground-breaking innovations in art design that makes the Star Wars universe so rich in visual perfection.
Heavy with digital enhancements, the art within is so detailed at times that I had to look closely to see if I was looking at photos from the show itself. This entire edition is a visual feast.
The presentation is straightforward, broken down by episodic chapters.
Being a timeline continuation of the original trilogy, the imagery from The Mandalorian couldn’t feel more Star Wars.
Tapping into the visual language created by original trilogy concept artist Ralph McQuarrie, original trilogy filmmakers and even Kenner toys, longtime Lucasfilm designer guru Doug Chiang and his team lovingly reproduced what came before in fresh ways. I felt like I was back home in the universe I grew up in, eagerly awaiting the next Star Wars film.
Everything from the cyclops Abyssin seen in the cantina of the original Star Wars and the aquatic Mon Calamari and Quarrens from Return of the Jedi to the ghostly white McQuarrie spider first conceived during the pre-production of The Empire Strikes Back are brought to our screens.
The creative team, which includes costume designer Shawna Trpcic, were also tasked with bringing characters such as Cobb Vanth, Bo-Katan and the Dark Trooper from Star Wars’ extensive Expanded Universe to live-action while making them feel like they belong to the original Star Wars trilogy.
This book also enlightens on many levels. We’re given welcome insight to The Mandalorian’s production process, learning that the episode airing order is not necessarily the production filming order. The groundbreaking LED screens that have replaced traditional green screens, known as “The Volume”, have changed the art development process forever, working hand in hand with virtual digital artists. Seeing the digital mock-ups of sets makes the production process feel more accessible, giving readers a master class in set design.
I also learned a new word: Photogrammerty. Three dimensional environments pieced together from thousands of physical location photos. Captured by a virtual visualization team, this is responsible for the unique, exotic planets Din Djarin visits each chapter.
My personal favorite anecdote was learning that certain structures in the Imperial Base featured in Chapter 12: The Siege, were directly inspired by Kenner toys Death Star playset released in 1978. Which is one of my all-time favorite possessions.
Of course, we get the usual welcome staples as in past editions. Rough sketches from show creatives, in this case Dave Filoni, that are transformed into stunning images and clever art captions such as Tusken delight, the nick-name for millipede creatures that Tusken Raiders to eat.
As stated in the opening, there’s nothing more nostalgic than getting to spend time in the magical Star Wars universe.
However, for this particular review, there’s an unique feeling of inspiration.
Because of my line of work, I am mere feet away from where Boba Fett’s throne room stood a year prior. Both Volumes used in the production of The Mandalorian, The Book of Boba Fett and the upcoming Kenobi are a short walk from the sound stage I’ve been assigned to this past week. Every sound stage around me contains a Star Wars set in some shape or form.
Star Wars surrounds me. And I get to write about it.
