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From LEGO to Concept Art: Designing a Pod Racer with a Hybrid Approach
- Uriel Muñoz Diaz
- Apr 1
- 4 min read
Introduction
The aim of this article is to showcase my design process for developing a racing vehicle based on the Star Wars IP, with the intention of exploring new workflows. To move away from the conventional and purely digital approach, I decided to use readily available resources; in this case, LEGO bricks, in order to explore two levels: formal and volumetric.
This approach allowed me to evaluate whether the idea worked under the following parameters:
Form: It should be legible and iconic.
Production: It should be easy to manufacture. This idea could be built as a model, either for use on a film set or as a physical guide for the 3D modeling department in a future production. This point is relevant considering the practices of the ILM (Industrial Light & Magic) workshop, where many vehicles are manufactured for film and television series, such as the Razor Crest in The Mandalorian (screenshots 1, 2) ( https://youtu.be/8YuaIwVbEZo?si=kp0wBZrkby08VDnb ).
Functionality/aesthetics: both aspects are closely linked. Star Wars draws inspiration from NASA prototypes and World War II aircraft, so every element must address aeronautical issues, wind resistance, and other factors.
Process
The process began spontaneously. I started with a pre-assembled LEGO set: Batman's jet (Photograph 1). I identified interesting elements such as the wings and engines, so I began to disassemble it to reuse them.
At first, it was easy to find relationships between pieces; however, as I progressed, some connections became more complex. Therefore, I decided to use a second set: Robin's motorcycle (Photo 2) . This model didn't require complete disassembly, as its shape was similar to that of a Pod Racer.
Exploration
Once I found a shape close to what I was looking for, I used it as a base (Photographs 3, 4, 5 and 6) . I documented the model with photographs to have digital references, although the physical model remained key to solving problems during this stage.
During the exploration, I maintained a three-dimensional approach, which allowed me to evaluate multiple angles simultaneously and make quick adjustments as needed. I worked at a block-out level, avoiding unnecessary details and focusing on the initial criteria: iconic forms, manufacturability, and grounding in real-world references.
The process involved reusing basic elements, duplicating, scaling, rotating, and adjusting them to find new design solutions. I conducted three explorations where I tested variations such as double wings, longer engines, more aggressive proportions, among others (Sheet 1).
After these explorations, I selected a base proposal: option “1” (Sheet 2) . This doesn't rule out the others , but it allows for a more focused approach. From this base, I generated multiple screenshots to refine the design to a sketch level.
The goal was to maintain an economical resolution: the formal basis worked, but it was still necessary to adjust reading, hierarchy, proportions and simplicity.
Refinement
I performed three additional iterations and selected option “C” (Sheet 3) . The decision was based on the parameters defined from the beginning: legibility, manufacture and coherence with real references.
Subsequently, I refined functional elements such as wings, cockpit, engines and connections between the Pod Racer and the engines (Sketch 1 and 2).
Working from a 3D base allows for the simultaneous resolution of multiple views. It starts with a solid structure and only makes adjustments to it, which speeds up decision-making and facilitates the identification of missing information.
Note: This process is not recommended if you still have deficiencies in design and drawing fundamentals. Instead of speeding things up, it can hinder the process or create a false sense of accomplishment simply by using 3D tools.
Once the details were defined, I developed concept sketches divided into two levels: the Pod Racer and the engines, since the latter require more detail due to their scale (Sketch 3 and 4).
Visual production
Although the design was already finalized, I used the 3D base to continue modeling. I added details using the same exploration method (reuse, scale, and adjust).
Finally, I developed concept illustrations, keyframes, and a turnaround to communicate the final design. (illustration 1, 2, 3)
Conclusion
“Design doesn’t follow a single path .” Not all solutions come from traditional methods like thumbnails or sketches.
This approach represents an alternative worth testing and refining, with the goal of integrating it as an additional tool within the design process, especially in cases where traditional methods fail to yield a consistent solution.
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