star trek picard concept art

Star Trek: Picard production designer sharing concept art from S1

By rachel carrington | dec 23, 2021.

Star Trek: Picard will air its second season in February 2022

It’s been almost two years since Star Trek: Picard wrapped its first season. What we watched back in 2020 might not have stayed with us, which is why it is time for a rewatch. Picard production designer Dave Blass is taking that seriously as he posted on his Twitter page on December 21st that, with ten weeks remaining until the premiere, he was going to watch one episode a week. On top of that, he’ll be sharing some “cool concept art.”

He started off the first episode, “Rememberance,” viewing by sharing the La Sirena logo by John Eaves.

Star Trek: Picard started with a one-hour premiere of “Rememberance.”

The one-hour series premiere of Picard filled in the background information for Patrick Stewart’s character, Admiral Jean-Luc Picard, since he’d resigned from Starfleet after the Federation wouldn’t help the Romulans after the attack on Mars.

Blass revealed some early concept art from that attack along with some reminders of the opening of the episode.

And curiously, Blass shared images from the Star Trek: The Next Generation episode “Family” where Captain Picard visited his brother Robert and his family at their chateau in France. What’s so curious about it is he adds a cryptic note that says “these images might be handy in February.”

Since the second season of Picard is set to involve time travel, it’s entirely possible we’ll see Picard’s family chateau again and maybe even his family. Hopefully, he might even get the opportunity to say goodbye to them, knowing the future that awaits them at the beginning of Star Trek: Generations.

Since it’s doubtful we’ll get further details on the second season, following the behind-the-scenes people from Picard can provide information we might not get otherwise. I know I’ll be tuning in to Blass’ weekly updates!

Next. Gates McFadden doesn’t rule out a return as Dr. Beverly Crusher. dark

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Tuesday 28 April 2020

Beautiful concept art for picard and discovery title sequences.

The series' backstory of a covert mission and its ostensible terraforming purpose centres on fungal tendrils known as mycelia. I began to experiment with these organic thread structures, and to explore various analogous forms and structures from the microscopic to macrocosmic in scale.

The series presents a varied collection of short stories, each taking place in the Star Trek universe. The client sought a neat and concise sequence to pin the diverse narratives together whilst establishing themes of home planet, humanity and the relationship between. I liked the idea of a sequence that ends where it begins. We would open and close with a simple graphic ring, both as a subtle suggestion of an infinite boundless universe but also as the form that unites the various imagery of the piece (planet, iris, crater, etc.). Perpetual motion expressed by an ever-retreating camera would allow us to transition from human to cosmic scales, and provide a visceral sense of endless exploration. I felt that the seamless sequence might even play through more than once with an accelerating pace.

2 comments:

Art wise its very nice. all kudos to the artists. But I hate the intros to both shows. They detract greatly from my enjoyment. Yes Game of Thrones intro was very cool. That every cable show since has felt a need to copy that concept is not cool at all. Stop please. Classic trek intros! And by that I do NOT mean the intro for Enterprise, another utter dog.

Ahhhh...religious schism in Trek fandom.

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Textures and Layers: Inside Season 3 of Star Trek: Picard's Visual Effects

Go behind-the-scenes with this season's visual language!

Jason Zimmerman, supervising producer/vfx supervisor, takes us behind-the-scenes of the visual language showcased in the third and final season of Star Trek: Picard .

In addition to streaming on Paramount+ , Star Trek: Picard also streams on Prime Video outside of the U.S. and Canada, and in Canada can be seen on Bell Media's CTV Sci-Fi Channel and streams on Crave. Star Trek: Picard is distributed by Paramount Global Content Distribution.

REVIEW: Star Trek: Picard: The Art & Making of the Series Redeemed the Series

T he main reason anyone will pick up Star Trek: Picard : The Art and Making of the Series is right there in the title. The book is filled with the immaculate work of concept artists, production designers, plus makeup and effects artists responsible for making Patrick Stewart's return to Star Trek look as good as it did. But with 60 years of history behind the universe created by Gene Roddenberry, longtime Trekkies know the drama unfolding behind the camera is often just as interesting as (or even more so than) the shows themselves. This book does not disappoint when it comes to chronicling Star Trek: Picard's history and creation.

Making any television series is a near-impossible effort, even more so when it's part of a franchise as storied Star Trek . Like every set that brought Starfleet's adventures to life, Star Trek: Picard encountered many hurdles. The largest, of course, was Patrick Stewart's reluctance to play Captain Jean-Luc Picard again , which was aptly the beginning of the book's story, written by Joe Fordham. The show was always planned to be just three seasons long. It went through a number of showrunners, starting with Michael Chabon in Season 1. He left to develop a series based on his novel "The Adventures of Kavalier and Clay," and Akiva Goldsman and Terry Matalas stepped in. Season 2 went through many rewrites, and had to deal with the early days of making television during a once-in-a-lifetime pandemic. Season 3 was given less time and money because of these unforeseen delays.

Despite the show's production woes, this book doesn't dive into the drama like most tell-all Star Trek books. Instead, Joe Fordham focused on everything the series accomplished. In fact, Star Trek: Picard: The Art and Making of the Series may make some fans appreciate the show's contentious earlier seasons more than they did the first time around.

Star Trek: Picard: The Art & Making of the Series "Redeems" Seasons 1 & 2

Review: star trek: picard season 3 gets a fitting send-off on home video.

Star Trek: Picard: The Art and Making of the Series opened with an interesting anecdote about how Star Trek: Picard almost didn't happen, and not for the reason fans may think. Initially, the series' plot that followed an older and retired Jean-Luc Picard was an idea for a Short Treks episode. It would've starred Nichelle Nichols and Patrick Stewart. The latter, however, didn't want to portray the iconic Starfleet captain again. Alex Kurtzman, overall producer for third-wave Star Trek , convinced him not just to reprise the role for a short, but for 30 episodes of television. Alex Kurtzman did so, in part, by promising that the new series would not be Star Trek: The Next Generation Season 8. While many of Patrick Stewart's conditions for return weren't met, this specific one was.

Unlike past projects, Patrick Stewart was involved from the very beginning. He was an integral part of the show's development level, particularly Season 1. For example, the book reveals that Jean-Luc Picard was originally going to be introduced while he was traveling undercover with a galactic theater troupe. Star Trek: Picard: The Art and Making of the Series offers glimpses of what could've been in Star Trek: Picard , but it doesn't dwell too long on what didn't make the cut. Instead, the story the book tells and the images of concept art, other designs and photographs it shows focus on two important things. The first is how much fun everyone was having (perhaps even when they weren't) while making the series. The second was how deeply connected to Star Trek 's history each element of the series was.

People unhappy with the direction of Star Trek: Picard's first two seasons often accuse it of lacking respect for what came before and a sense of continuity with previous seasons. Star Trek: Picard: The Art and Making of the Series obliterates this argument more completely than a Klingon disruptor. The series' visuals were created by industry legends like Doug Drexler and up-and-coming talents like Dave Blass. What's evident throughout the book's text and images is just how much everyone involved loves Star Trek . On their own merits and despite their own flaws, Seasons 1 and 2 of Star Trek: Picard don't need "redemption." But if some unhappy Trekkies believed they do, this book helps with that. At the very least, it reveals in painstaking detail the level of talent, hard work, and passion that brought these 25th Century ideas to life.

Star Trek: Picard: The Art & Making of the Series Showed How Star Trek: Picard Was a Love Letter to the Franchise

One essential element picard season 2 had that season 3 lacked.

One detail that surprised Star Trek canon-watchers about Star Trek: Picard was the inclusion of the Romulan catastrophe that set off the rebooted Star Trek movies' Kelvin Timeline . Critics may think that this addition was forced vertical integration. They even blamed Alex Kurtzman, who worked on Star Trek (2009) and Star Trek: Into Darkness as a writer and producer. While the Kelvin Timeline's mention may or may not have come from him, it wasn't forced. Star Trek: Picard co-creators Kirsten Beyer and Michael Chabon were looking for a way to tell the kind of story Patrick Stewart was interested in. Specifically, they needed an event that would push Picard away from his beloved Starfleet. Suggesting that the organization failed to rise to the occasion of rescuing their last, greatest enemies was chosen because it served the story.

Conversely, some critics claimed Star Trek: Picard leaned too heavily on nostalgia for Star Trek: The Next Generation . This was most egregious in Season 3's inclusion of characters like Moriarity, or rebuilding the USS Enterprise-D just in time for the series finale. In an interview, Terry Matalas said Star Trek: Picard writers indulged in "fan service," but not in the most obvious ways. Star Trek: Picard: The Art and Making of the Series highlighted how the creative team made choices for the story, sets and even costumes as fans of the universe and its characters . The meticulous recreation of the USS Enterprise-D bridge was a labor of love for Dave Blass, Michael Chabon, Liz Kloczkowski, and Denise Okuda. Whether these tributes worked in the narrative or not is subjective, but the book detailed how no one involved wanted to short-change viewers, or the Star Trek universe itself.

It's also worth noting that Star Trek shows are a bit of a contradiction. They are expensive to produce, but no production (save perhaps for the Kelvin Timeline movies) ever had "enough" of a budget. Even Star Trek: The Original Series , with its relatively cheap canvas skies and papier-mâché sets, was the most expensive show made by Desilu and NBC at the time. Star Trek: Picard: The Art and Making of the Series didn't get into specifics about the show's budget, but every single page made it look as if the production had more money than what the producers actually gave them. This book documented hundreds of artistic miracles, large and small, that the creative team contributed to the series.

Star Trek: Picard's Characters & Costumes Were the Book's Headlining Act

The best star trek legacy character returns in 2023.

The design of the original USS Enterprise is perfect, so much so that every Star Trek designer who followed W. Matt Jefferies faced the impossible task of surpassing or just equaling what came before. They had to create fresh, new ships that both showed the technology's evolution, while still hewing closely to what was established. This was especially true for Starfleet vessels like the USS Titan-A/Enterprise-G and the USS Stargazer. Other ships, like the Shrike, the Borg Mothership at Jupiter and La Sirenna, could be more distinct. These were also filled with the names of legendary Star Trek designers such as John Eaves, whose idea for the Shrike was built on by Doug Drexler.

For Trekkies who loved these ships, Star Trek: Picard: The Art and Making of the Series may fall a little short in how much coverage these iconic vessels got. This was only because "enough" is a metric that doesn't exist for these fans. What the book did show about Star Trek: Picard's ships was detailed, informative and accompanied by images that some readers will wish they could tear from the book and hang on their walls as posters. Along with the ships' exteriors and interiors, the costumes and prosthetic makeup were presented as a pivotal pillar that shored up the series' foundations. There is a detailed section devoted to realizing Season 2's Borg, including the Borg Queen played by the late Annie Wersching. The desiccated Borg Queen from the Prime Timeline , introduced in Season 3, was also demystified. Fans may be shocked by just how much of what they saw of her was a mix of makeup and practical special effects.

Star Trek: Picard was a triumph for both the franchise and the characters, old and new, whose stories made it matter. Even zealous Trekkies who can't stand this or that season will find value in the book's study of the artistry put into the show's creation. Star Trek: Picard: The Art and Making of the Series is a celebration of the creative team's artistic accomplishments. It presented in detail all the things that went right with the series, instead of dwelling on a hypothetical series that may or may not have been better. It offers viewers a better understanding of what went into creating this series. This new information could even temper fans' criticisms. For those who loved Star Trek: Picard and the history of Gene Roddenberry's universe, Star Trek: Picard: The Art and Making of the Series is a vital part of preserving that story. It also makes sure that pop culture history remembers more about Star Trek than just the name "Enterprise." After all, names mean everything.

Star Trek: Picard: The Art and Making of the Series is available to own in hardcover wherever books are sold.

Star Trek: Picard

After 30 years, fans reunite with Admiral Jean-Luc Picard (Retired) for new adventures through space and time with old friends and new characters.

Release Date January 23, 2020

Cast Patrick Stewart, Alison Pill, Santiago Cabrera, Michelle Hurd

Main Genre Sci-Fi

Genres Sci-Fi

Rating TV-MA

• A well-made book that's perfect for display.
• A treasure trove for details-obsessed Star Trek fans
• Excellent balance of text and images to tell Picard's story
• No real examination of any of the series' struggles behind-the-scenes.
• Book size makes it uwieldy for casual reading.
• Could use more examination of starship designs, especially discarded ideas.

20 Incredible Star Trek Concept Art Designs You Need To See

What could have been...

Like all fictional worlds, the Star Trek Universe has more or less been built from the ground up. Sure the shows and movies have used existing locations to stand in for other worlds and used the occasional rented prop (red blinking tubes, we're talking about you), but the majority of what you see in the Star Trek Universe has been painstakingly designed and constructed physically and/or rendered in the digital world.

As with any design process, many concepts were produced and then abandoned, either for reasons of practicality, budget, or because the production simply changed directions. These designs include radical new make ups, costumes that never saw the light of day, even whole sequences that were conceptualized but never filmed.

Of course some of these designs might be considered questionable, but these twenty Star Trek concepts and art designs are a fascinating look at what could've been.

20. Picard's Lecture – Star Trek: Picard

Another tantalizing glimpse via production illustrator Laurent Ben-Mimoun's work depicts a scene from Star Trek: Picard in which Jean-Luc Picard gives a lecture about his time as Captain of the Enterprise.

This artwork features Picard at a podium surrounded by holographic versions of the USS Enterprise-E and Lieutenant Commander Data as he appeared in Star Trek: The Next Generation. The audience Picard is addressing is made up of a number of iconic Star Trek aliens including several Ferengi (who ultimately never appeared in Star Trek: Picard), a Vulcan, and a Klingon (using the Star Trek: Discovery-style makeup).

I played Shipyard Bar Patron (Uncredited) in Star Trek (2009).

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Star Trek: 20 Pieces Of Unused Concept Art Even Devout Trekkers Have Never Seen

An animated Star Trek set in the 26th century? Picard's robotic arm? Is that V'Ger? This concept art fans will have to see to believe!

Star Trek showed us a future in which humans, after overcoming their need to earn money and wage war, took to the stars and explored the final frontiers of space.  Star Trek may have given us moments of humanity at its finest, but the show itself had many issues behind the scenes. The original pilot of Star Trek was rejected, forcing creator Gene Roddenberry to go back to the drawing board. Even spinoff shows like Star Trek: The Next Generation and Star Trek: Voyager had difficulties finding the right people to sit in the Captain's chair. The casting may have been eventually perfected, the ships awesome and the storylines superior, but when you take a look at the initial concept art, you may wonder if these were designs for a different show altogether.

We know that Jean-Luc Picard's transformation into Locutus impacted him psychologically, but what were the initial ideas that involved the permanent changing of Picard's body? What was the initial idea behind Final Frontier , an animated Star Trek series set in the 26th century? Outposts built into asteroids, Captain Kirk's flying squirrel outfit, a floating Klingon chair and much different versions of U.S.S. Enterprise, Voyager and Defiant will make you think about the Trek that could have been. Perhaps there's a mirror universe out there where some of these ideas, however strange, might eventually see the light of day! Let's wind back the clock and take a look at the early drafts and concept art for the ships, characters and moments that have become iconic science fiction moments in the Star Trek universe.

20 CONCEPT ART BY MATT JEFFRIES

As large as the Enterprise may become, you'll probably always see crew members crawling around the ship in cramped pathways called Jeffries Tubes. These tubes were named after Star Trek set designer Matt Jeffries, who also designed the Enterprise, several Klingon ships and smaller objects like phasers.

In the above sketches done by Jeffries, you can see the beginnings of what was to come. In the upper left and bottom right, you can see drafts for what will eventually become a D-7 Klingon Battle Cruiser, based off the shape of a manta ray. The circular design was actually an early concept of the Enterprise but was scrapped for a more familiar saucer shape.

19 STAR TREK: DISCOVERY UNIFORMS

What will clothing be like in the future? The answer: uncomfortable! Actors on Star Trek: The Next Generation complained their spandex jumpsuits were too tight and had were too revealing. In Star Trek: The Motion Picture , thousands of dollars were spent on jumpsuits with boots built in, but there were no shots in the movie that showed that off!

In the concept art for Discovery uniforms, the middle design borrows from the loose blue jumpsuit featured on Star Trek: Enterprise (as well as the zippered pockets on the legs). All versions have atypical zippers, possibly showing an homage to the angled rising black shape at the bottom of the uniforms from the Next Generation television series.

18 PICARD'S LOST ARM

When Captain Picard was transformed into Locutus in the episode "The Best of Both Worlds," we got to see Borg drones placing cybernetic pieces on the Captain. There was a close up showing an attachment being placed over Picard's right hand, but in previous versions of the script, it actually was a full replacement of the arm.

In the second part of the episode, Data wrestled with the Captain and snapped off the attachment. The above concept art shows Picard receiving a pale prosthetic version of his hand that he would have sported for the rest of the series. The idea wasn't used, but writer Ronald D. Moore's idea of wounded heroes was continued when he wrote for Battlestar Galactica .

17 EARLY ENTERPRISE DESIGN

Gene Roddenberry wanted to challenge expectations with his Star Trek series, which would feature a multi-racial cast exploring the final frontier. Roddenberry knew from the beginning he wanted to do something different, and it all started with his initial mock up of what eventually would be the U.S.S. Enterprise.

Early concept art by Matt Jeffries depicted the Enterprise as a ship inside several cylinders. This breaks from the idea of the "flying cigar" shape and is a variation of the flying saucer that was popular at the time. The idea of a saucer inside a saucer would make its way to the design of the U.S.S. Discovery.

16 BORG QUEEN

The Borg initially started out as a race of insects, and even though they wound up being robots, the idea of a race of drones was kept consistent. So where there are drones, there is a queen, and the Borg Queen made its first appearance in Star Trek: First Contact . As scary as she was, concept art by John Eaves and Richard Delgado shows us how she was originally conceived.

The drawing by Eaves on the left makes the Queen look much more industrial, giving her a look that's part Matrix, part steampunk. The drawing on the right by Delgado is reminiscent of the Maschinenmensch from the 1927 film Metropolis . The Queen's legs would have been a sharp metal point that floated over the ground.

15 WILDLIFE FROM STAR TREK INTO DARKNESS

The beginning of Star Trek Into Darkness offered an interesting scene in which Kirk, Spock and McCoy violate the Prime Directive to save the planet Nibiru. They encounter the population of the planet as well as the indigenous life forms. By accident, Kirk shoots a Nibirilla, which McCoy explained was their ride back to the Enterprise. At the time, the ship was hiding in a body of water.

Above is concept art for some of the life forms that didn't make it into the final cut of Into Darkness . Kirk and McCoy had to dive off of a cliff to get to the submerged Enterprise, and we theorize that this fish would probably have been one of the aquatic lifeforms that the Captain and Doctor may have encountered.

14 STAR TREK: FINAL FRONTIER

Star Trek: The Animated Series was a fun addition to the Star Trek universe and made perfect sense: an animated show would solve any issues with budget limitations or restrictions due to make-up. Added to the crew was an Edosian named Arex (replacing Checkov) and a Caitain communications officer named M'Ress. In 2006, fans almost got another animated Star Trek show!

Star Trek: Final Frontier was set in the 26th century and if you thought DS9 was a downer, get this: the Vulcans have left the Federation, the Klingons were defeated by the Romulans and flying around the galaxy is near impossible due to Omega particle bombs that have gone off by unknown attackers. The concept art is beautiful and scripts for the show are downloadable.

13 FLYING KIRK!

Fans and critics praised the J.J. Abrams rebooted Star Trek in 2009, saying that it was packed with action and adventure. Younger versions of the crew of the Enterprise meant they had more opportunities to run around and get into fights. In the Star Trek video game that came out in 2013, Kirk got to fly!

In the concept art for the video game by Fernando Acosta, he designed something initially labeled a "squirrel suit" but in actuality was a wing-suit. In the game, Kirk's shuttle is shot down over a Gorn outpost and the Captain and Spock use these suits to glide to safety. Star Trek Into Darkness didn't give us wing-suits, but did give us Khan and Kirk in spacesuits shooting through space in an asteroid field!

12 STAR TREK: FIRST CONTACT BORG VESSEL

The Borg were introduced in the Next Generation episode "Q Who" and they were initially conceived as a race of insects. Budget prevented this from happening and they instead became a race of cyborgs. Instead of the sleek, curvy design of Federation ships, the Borg flew around in efficient geometrically shaped ships that were cubes and spheres.

In concept art for Star Trek: First Contact by Richard Delgado, he continued with the idea that the Borg would only design shapes that had strict geometric symmetry. Proposed for the film was a giant Borg obelisk that would contain other ships inside of it. You can see the Borg spherical ships within the structure.

11 ENGINE ROOM

The 2009 reboot of Star Trek featured the largest version of the Enterprise to date: the Enterprise-E was 685.7 meters long while the one from the Kelvin universe was over 700 meters in length! The film by J.J. Abrams had a massive budget, and the above concept art shows off how giant the proposed engine room was going to be.

The above drawing makes the Engine Room look like a high tech version of a submarine, but fans may recall a more spacious depiction of the Engine Room in the final film. This is because the location was actually a Budweiser manufacturing plant! Set phasers to Bud Light!

10 STAR TREK: DISCOVERY KLINGON TECHNOLOGY

The Original Series depicted the 23rd century and was produced in the 1960s. When the prequel series Star Trek: Enterprise was produced, it took place in the 22nd century, but the bridge looked more advanced since the series was made in 2001. The problem came up again when Star Trek: Discovery launched in 2017.

Discovery takes place about 10 years before The Original Series , but still had the problem of looking retro for the future, yet advanced by today's standards. In the above concept art, we see a Klingon in a tactical chair that was meant to move around the bridge. Kind of reminds us of Laurence Fishburne's command chair from Event Horizon !

When Star Trek was launched back in 1966, the pilot episode "The Cage" had to be retooled because it was considered by some to be too cerebral. To a degree, when Star Trek: The Motion Picture premiered in 1979 some fans were taken aback by the slow, ponderous pace of the movie. V'ger was hard to describe... was it a giant vessel or a ginormous life form?

In the above concept art, V'ger is depicted as a giant craft. In the film, the depiction of V'ger is a little more nebulous, with unclear boundaries and implications that it's a giant moving cloud that's two astronomical units wide... that's around 300 million kilometers in width!

8 PHASE II CONCEPT ART

We've seen crossovers between Star Trek and the X-Men , Green Lantern and Planet of the Apes , but we'll probably never get an official crossover between Star Trek and Star Wars . However, Ralph McQuarrie, famous designer and illustrator whose work was featured in Star Wars was also hired to do conceptual art for a failed Star Trek project in the late 1970s.

Planet of the Titans involved some strange elements like time travel and Kirk going missing, but here in the concept artwork by McQuarrie we can see some of his Star Wars sensibilities in Trek . Instead of a sleek space station, one is built into the rockface of an asteroid, something we'd more likely see in Star Wars .

7 EARLY DRAFTS OF VOYAGER

After designing the Enterprise-D, producers at Star Trek wanted the next ship to be smaller. Designer Rick Sternbach also gave the new ship some features writers intended on using, such as the ship's ability to safely land on a planet then return to space. Initial drawings by Sternbach consisted of a lot of objects protruding from the vessel that would eventually become the U.S.S. Voyager.

Starfleet is known for being sleek and futuristic, and producers reigned in much of Sternbach's proposed ideas for the Intrepid-class vessel. Work on designing Voyager started as early as 1993, which fell between the last season of Next Generation and the second season of Deep Space Nine .

6 STAR TREK: DISCOVERY EARLY TRANSPORTER

Star Trek: Discovery had some tech problems. The show takes place 10 years before the Original Series , yet had to still look futuristic for current audiences. Making retro future tech is not easy, and Discovery decided in the concept art for the transporter room to take somewhat of a steampunk route with giant copper protruding dishes and cylinders.

The concept art wound up being used specifically for the U.S.S. Shenzhou. The ship was the focus for the first few episodes of the series. After the Shenzhou was abandoned at the Battle of the Binary Stars, focus of the show switched to the advanced U.S.S. Discovery and its never before seen spore drive.

When Durinda Rice Wood, costume designer for Star Trek: The Next Generation , had to create costumes for the Borg, she knew that they were going to be the biggest villains the Federation had faced to date. Wood's initial sketches on the left were reminiscent of drawings by H.R. Giger, the artist that designed the main creature in the Alien franchise.

Wood's idea was that the Borg, although futuristic, would contrast against the sleek, smooth designs of the Federation. They would be space zombies, and any necrotic parts would be swapped out with robotic ones. The drawing on the right is by Richard Delgado, who made changes to the Borg for Star Trek: First Contact . Delgado wanted to have transparent plates where you could see the internal organs of the drones.

4 EARLY VERSIONS OF THE DEFIANT

The U.S.S. Defiant made its first appearance in the DS9 episode "The Search" and was a big change in design from previous Starfleet vessels. Originally named the Valiant, it was a compact ship specifically designed to fight the Borg, so how was Starfleet's first warship going to look? The above concept art takes you through the evolution of the initial ideas.

The ship started out as a giant shuttle, referred to as a Runabout. Starfleet was more known for its exploratory endeavors, so concept art was trying to keep that tone in mind with designs for Starfleet's first combat vessel. Check out the third design, which depicts a detachable front module.

3 KIRK AND SPOCK FIGHT

What words come to mind when you think of the original Star Trek series? There was some great science fiction moments with stories, cool ship battles (they were good at the time) and occasionally we got to see Kirk fight an alien and get his shirt ripped. Do people think about Kirk and Spock as being action heroes?

It seems like the 2009 reboot of Star Trek is trying to get us to think that way. In the concept art for the 2013 video game, it appears that Kirk and Spock are up against a giant attacking lizard. The game tried to rebrand Kirk and Spock being more action-oriented. We get it, you want Kirk to be Han Solo. Does that make Spock Chewbacca?

2 HOME PLANET FOR THE FOUNDERS

In interviews with cast members from Next Generation , they would joke about how light and jovial their set was in comparison to the somber tone on the set of Deep Space Nine . Given the concept artwork for the home planet of the Founders, it's a little surprising to see how much color was planned for such a dark television series.

The above artwork was done by concept artist Jim Martin, but the final show depicted the Founders homeworld as a giant ocean. This makes more sense, given that the Founders were lifeforms that existed in a liquid state. They would probably have no need for structures normally used by "solids."

1 MCQUARRIE'S ENTERPRISE

Although it was incredibly exciting to see Star Trek return to television in 1987 with Next Generation , there were earlier plans to launch a television series following the second five-year mission of Kirk and crew. Star Trek: Phase II was set to launch in 1978 after Roddenberry's failed attempt at producing Star Trek: Planet of the Titans .

The above drawing was concept art by the legendary Ralph McQuarrie, who also did concept art on Star Wars . The above draft was the redesign of the Enterprise for the film, and was also considered a possibility in Star Trek: Phase II . Oddly enough, its design would be borrowed heavily for the main ship featured in Star Trek: Discovery .