Meet the Episode III Art Department

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The Episode III art department brought together a team of designers, model makers, and visual thinkers who helped shape the film’s distinctive environments and textures. Their work blended practical craftsmanship with digital innovation, creating the layered visual identity that defines the final chapter of the prequel trilogy.

This feature highlights the collaborative spirit behind the department, touching on the personalities, creative problem‑solving, and evolving techniques that guided their contributions. It offers a grounded look at how artistic vision and production realities intersected during the making of Episode III.

Meet the Episode III Art Department

Introduction and Iain

When a young George Lucas was pitching his space opera movie to studios in the early 1970s, it was the paintings of Ralph McQuarrie that explained Lucas’ vision to Fox executives and earned a green light. Those paintings were the first visual representations of the galaxy far, far away imagined in the pages of Lucas’ screenplay. Now famous, those illustrations provided a look for the set builders, the costume designers, and the fledgling visual effects unit to follow. The Star Wars tradition of creating and utilizing concept art throughout the screenwriting process continues with the final chapter as the Episode III art department has been working on new imaginings for nearly a year.

Whether to inspire George Lucas’ writing, Gavin Bocquet’s set design and construction, Trisha Biggar’s costumes, Nick Gillard’s stunt planning, John Knoll’s visual effects or Rob Coleman’s team of animators, the Star Wars tradition of creating and utilizing concept art as the film’s inception continues with Episode III.

“This is my favorite part of the process,” says Concept Design Supervisor Iain McCaig. “Since we start before the script, anything we draw or imagine could possibly be in the movie. George is open to everything. Nothing is set in stone.”

This small team of talented artists has been hard at work for nearly a year exploring what might, and might not, be part of the final episode. It will be a few years before we can show you their work, but these are the creative men shaping the first phase of the massive production.

Iain McCaig
The talent and warm personality of Iain McCaig is already familiar to Star Wars fans (see Drawing Attention, From Concept to Costume and Designing a Sith Lord) as the Phantom Menace and Attack of the Clones veteran returns to close out the Anakin Skywalker saga.

As with Episode I and II, McCaig is taking the lead on conceptual character, creature and costume design efforts for Episode III. Collaboration with both Costume Designer Trisha Biggar and Animation Director Rob Coleman has already begun which is allowing even greater synergy between concept and those implementing the ideas than on previous episodes. McCaig was recruited by Industrial Light & Magic to work on Terminator 2 after beginning his career in cartoons for “Sesame Street” followed by several years of fantasy and science fiction book and record covers. Between his stint on Episodes II and III, McCaig kept his diverse interests going by directing an award-winning short film (The Face at AtomFilms), creating cover art for the Magic Time book series, and screenwriting for features and television including an animated feature for IMAX.

Favorite original trilogy moment? “I hate to sound so unoriginal, but it’s Luke on Tatooine with the twin suns in the sky. I think it’s the music. Does it every time.”

Erik and Ryan

Erik Tiemens
Erik Tiemens came to Episode II after initial production had already wrapped to provide the post-production teams with dramatic environmental illustrations to establish look and mood for fluid sequences like the droid factory and the start of the Clone Wars.

With his powerful work, Tiemens has continued straight on into Episode III and is pleased to now be involved in the brainstorming phase of the project. Together with Ryan Church, Tiemens leads the environmental and industrial design efforts for the film as Concept Design Supervisor.

Strongly influenced by 19th century painting and artists like John Singer Sargent and Frank Brangwyn, Tiemens’ filmography includes Forrest Gump, Jurassic Park, Contact and, Star Wars: Special Edition. Tiemens joined the Episode II team on the recommendation of Iain McCaig with whom he had worked in the past.

Favorite original trilogy moment? “C-3PO walking alone in the dunes at dusk in A New Hope. A classic moment with incredible beauty.”

Ryan Church
Concept Design Supervisor Ryan Church also returns following his significant influence on the look and design of Episode II. Church studied Transportation Design at Art Center then worked for Universal Studios and Walt Disney Imagineering before landing at ILM’s Digital Features department where his work caught the eye of Iain McCaig.

Church describes his roles on Episode III as “art director and industrial designer.” He enjoys conceptualizing vehicles, architecture, cultures and environments and illustrating the shots that tell the story.

“Episode III is especially challenging because we have to create a lot of new design aesthetics and still differentiate them from one another — coming up with distinct new looks that still fit into the Star Wars universe,” Church comments. “My favorite part of the job is painting these worlds and scenarios all day long– the pure creativity.”

Favorite original trilogy moment? “When Yoda lifts the X-wing out of the swamp — good stuff.”

Sang Jun and Derek

Sang Jun Lee
When George Lucas feels a particular piece of concept art is on the right track for his vision of the movie, he will stamp it with an “OK”. On certain occasions, when the art matches that vision perfectly, Lucas will pull out a “Fabulouso” stamp. Newcomer Sang Jun Lee has become no stranger to that stamp, with many multi-fabulouso weeks to his credit.

While working on a degree in illustration at the San Francisco Academy of Art, Lee interned for a year at ILM. After graduating, he spent some time at Sony Computer Entertainment before returning to ILM where he did creature design for Men in Black II and the upcoming Hulk and Peter Pan.

Specializing in character, costume and creature design for Episode III, Lee has been exploring depths and details of cultures and worlds that have long fascinated Star Wars fans as well as ones never imagined.

Favorite original trilogy moment? “The duel between Luke and Vader in Empire. The fighting style was very Japanese influenced, plus great acting and that unexpected shock.”

Derek Thompson
New to the Star Wars team, Derek Thompson got his start illustrating for Dark Horse Comics on such titles as “Monster” and “Predator: Bad Blood”, then moved to video games before arriving at Industrial Light & Magic as a concept artist for such films as Men in Black, Men in Black II, The Mummy, The Mummy Returns and Return of the Jedi: Special Edition. He credits “patience and persistence” as his keys to landing the Episode III gig.

Along with McCaig and Lee, Thompson’s background in strange creatures lent his Episode III focus to the many new creatures and characters Lucas was looking to explore. He drew particular inspiration from the Mos Eisley cantina as the array of inspiring creatures on-screen for mere seconds might have an opportunity to shine in a different light in the new film.

Thompson has already moved on to other projects, but you can check out his gallery and track his movements at his website, Derek Monster.

Favorite original trilogy moment? “The cantina scene from A New Hope, of course.”

Stian and Feng

Stian Dahlslett
The most recent addition to the team, Stian Dahlslett, was attending art school in Germany when he received the call from Iain McCaig and Trisha Biggar asking him to join the costume group working in London for a trial period. “That week was to show how I work, so naturally I worked very hard and tried to be very productive,” Dahlslett recalls.

Dahlslett’s previous professional portfolio was limited to fantasy illustrations for a national German first grade mathematics textbook, and a book studying the techniques used in film concept design created for his degree. However, his work has already impressed McCaig. “Stian’s art is excellent. It’s very rare to find such mature work coming from such a young man,” he comments.

Growing up in Norway, Dahlslett made his first trip to the U.S. earlier this month to spend some time at Skywalker Ranch. He has since accompanied Biggar to Sydney, Australia where they will work non-stop for the next six months creating concepts and costumes for initial production.

Favorite original trilogy moment? “All the scenes on Hoth.”

Feng Zhu
Feng Zhu credits Star Wars for much of his artistic motivation and inspiration growing up. “I’ve always wanted to work on the Star Wars movies,” he says. “When I heard from Ryan Church that there was an opening for concept designers on Episode III, I sent out a portfolio right away.”

Zhu studied architecture at UC Berkeley, later transferring to industrial design at Art Center College of Design. He started his career in the video game industry, working for companies such as Microsoft, Electronic Arts, Sierra and Epic games. Thereafter, he began working on a diverse array of projects including TV commercials, film design and amusement park rides. He also continues to teach an industrial design class every other weekend in Los Angeles at Gnomon (his car now officially hates him).

For Episode III, Zhu focuses on new environments (his favorite), and hard-surface designs including vehicles, droids and props. You can see more of his work at Artbyfeng.

Favorite original trilogy moment? “My favorite would be the first time Han Solo meets Darth Vader in Cloud City. Vader blocks the lasers then proceeds to Force-grab Solo’s gun away; now that’s power.”

TJ and Warren

TJ Frame
TJ Frame studied industrial design at Art Center, where he first met Ryan Church. Frame worked for Electronic Arts as a senior concept artist for several games before he received the call from Church that they were accepting portfolios for Star Wars. After a few weeks of freelance work, Frame was invited to Skywalker Ranch full-time.

Frame is contributing industrial design to the look of Episode III, including vehicles, machines, droids, ships and environments. Frame has also begun incorporating 3-D computer modeling techniques into the department’s toolset.

Favorite original trilogy moment? “In A New Hope when Obi-Wan shows Luke his father’s lightsaber and explains the Force. That scene has a sort of mystical quality for me.”

Warren J. Fu
If the artists hear Hayden Christensen, Frank Oz, Ewan McGregor or any number of other celebrities enter the department, chances are it’s actually just Warren J. Fu — a center of dry wit in the creative day-to-day.

Fu contributes spaceship, droid and environment designs, along with some costume and character work. He credits his Episode III position not to talent or connections, but to “two dollars cash and 10% off coupons to Chili’s” attached to his portfolio submission.

Fu earned an art internship at ILM during his final semester as an economics major at UC Berkeley. From there, he worked his way to visual effects art director over the next four years working on such films as The Phantom Menace, A.I., and Attack of the Clones where he worked with Doug Chiang, Ryan Church and Erik Tiemens.

Fu directed an animated commercial for the late singer, Aaliyah, early in 2001 and plans to further his directing career after he completes work on Episode III. You can see more of his work at seeoutloud.com.

Favorite original trilogy moment? “When Yoda is acting crazy and eats Luke’s candy bar after crashing on Dagobah. That was bananas.”

Alex and Robert

Alexander Jaeger
Alexander Jaeger’s work as an art director at ILM on Attack of the Clones helped him transition to the Episode III concept design team where he contributes to the look of new technology and environments for the film.

Jaeger’s previous art direction credits include Star Trek: First Contact, Deep Impact, Galaxy Quest, Starship Troopers, Wild Wild West, and Pearl Harbor.

Alex attended Center for Creative Studies (as did Episode II concept artists Doug Chiang and Jay Shuster) and Art Institute of Pittsburgh before landing a job in the ILM modelshop at the age of 21. From there, he transittioned to the art department and has been there for the past nine years as visual effects art director.

Favorite original trilogy moment? “Imperial Walkers on the horizon!”

Robert E. Barnes

A veteran of Episodes I and II, Robert Barnes returns to the fold as a concept sculptor for Episode III.

After an internship and later a Production Assistant position at Industrial Light & Magic, Barnes was recruited to join the Episode I team, where he worked on full-scale vehicle mockups and character puppets, color schemes for numerous models and the final design of the sando aqua monster. On Episode II, Barnes created sculptures that made the nexu, the acklay and Poggle the Lesser make the leap from paper to three dimensions.

Barnes resumes his role on Episode III, describing, “I get to flesh out design concepts into a tangible form, which cranks-up both character and design development. Usually the process includes contributing alternative or original concepts – that’s the really juicy part for me.”

Barnes describes his role on Episode III as, “fleshing out drawn designs already approved by George Lucas to get them in 3-D and providing some variations and options.”

Favorite original trilogy moment? “The beginning of Empire on Hoth, when everyone’s crabby and snapping at each other, and nothing’s going right. I just like that it gets off to such an off-balance start.”

Michael and John

Michael Patrick Murnane
A key member of the Episode II concept group, Mike Murnane returns to craft maquettes of creatures and aliens for the last Star Wars feature.

Murnane is an illustration graduate of Long Beach State. He has illustrated, sculpted and performed for film, television, CD-ROM, and the theater, including projects for ILM and the Art Departments of Episode I and II. Murnane is co-directing Ride the Hard Line, a sci-fi spaghetti western.

Favorite original trilogy moment? “When Luke smashed the rock on the Rancor’s finger. That whole Jabba sequence just drove me crazy. It was pure creature joy.”

John Goodson
Another member returning for his third Star Wars prequel is concept model maker John Goodson.

Goodson has been making models since the age of five. Goodson followed an education in industrial design with a long career at Industrial Light & Magic working on such films as Ghostbusters II, Back to the Future II, Die Hard 2, and Star Trek: Generations.

Goodson began earlier on Episode III than previous Star Wars projects by creating three-dimensional versions of vehicles previously unused concept art by Joe Johnston and Doug Chiang that Lucas is considering for this film.