Issue link: https://digital.copcomm.com/i/1349602
like pipes and landing struts helped, but the solution finally came when the rear section was divided into three individual cylindrical rockets bound together. Now we were cooking with gas. A pretty solid library of detail reference was built up for the exterior of the ship because of the desire to keep close to existing technology, so once we were happy with the form, Alex was able to nail down the rest of the look with professional ease. After the model locked, he seemed able to knock out almost a dozen separate, beautifully photoshopped views in a couple days, I don't know how he did it, but I don't think he slept. Brian was to work on the interiors but he limbered up for the first week on Mission Control, while I hashed out the plans on paper. He works in Brush for the 3D, then eyshot for rendering and a final paint over with Photoshop, adding in layers of detail and life, including photos of his children as crew stand-ins. The conceptual process for the interiors was a lot of back-and-forth as the layout was constantly evolving and the details weren't fully resolved and each new space would send me down a rabbit hole of research and reference. Brian patiently put up with the evolution and constantly brought new ideas to the table. When we eventually got there though, we had a fully A. AN EARLY SKETCH OF THE COCKPIT LAYOUT. THIS WAS EVENTUALLY ADJUSTED TO ALLOW A DOUBLE HEIGHT SPACE FOR FLOATING. B. COMMAND MODULE SET WITH TILTING FLIGHT CREW SEATS THAT SLIDE UP INTO LAUNCH POSITION. SET PHOTO. C. PENCIL SKETCH PLAN OF THE LOWER LEVEL CREW QUARTERS. D. CONCEPT OF THE COMPACT CREW CABIN. ILLUSTRATION BY BRIAN CUNNINGHAM. E. INITIAL PENCIL SKETCH OF A CREW CABIN, ALL 4 CREW CABINS WERE BUILT WITH MULTIPLE WILD WALLS AND CAMERA PORTS TO FILM IN THE TIGHT SPACE. A B C D E