Every finish below is catalogued—read the story of the system in the Journal.
THE MILLENNIUM FALCON
SW-01 — The Falcon Hull Finish
Studio-Scale Falcon
Paint finish on the studio-scale Millennium Falcon, scanned from the original A New Hope filming model and produced as a canon reference model under Disney/Lucasfilm. Layered panel discoloration, carbon scoring, and decades of in-universe wear, hand-applied at studio scale.
SW-02 — The Cockpit Finish
Interior paint finishes for the life-size Millennium Falcon cockpit produced under Disney/Lucasfilm for the Harrods display, working alongside the crew behind the Force Awakens screen cockpit. Aged panel work, worn console surfaces, and decades of “lived-in” patina at a 1:1 scale.
SW-03 — The Smuggler’s Hold Finish
Interior paint finishes for the life-size Millennium Falcon lounge, produced under Disney/Lucasfilm for the Harrods display, built alongside the crew behind the Force Awakens screen cockpit.
The famous lounge: aged seating, worn padding, and grimed panel detail. The challenge of this finish is restraint—wear that reads as thirty years of smugglers, not paint.
STAR WARS SCREEN MINIATURES
SW-04—The Hero Fighter Finish
Miniature finish for Poe Dameron’s Black One—the signature Resistance X-wing of the sequel trilogy, introduced in The Force Awakens—produced for Star Wars: The Last Jedi. Burnt-panel blacks, oxidised orange trim, engine scorching, and mission wear: a hero ship that had to read as flown hard.
SW-05 — The First Order Finish
Miniature finish for Kylo Ren’s TIE Silencer (Star Wars: The Last Jedi). The opposite discipline to resistance wear: near-black First Order surfaces where the weathering lives in subtle tonal breakup, edge wear, and controlled sheen.
SW-06 — The Heavy-Service Finish
Miniature finish for the Resistance Ski Speeder (Star Wars: The Last Jedi). Chipped white over red livery, exhaust staining, panel-line grime, and structural wear—golden-era miniature weathering techniques in the modern Star Wars idiom.
SW-07 — The Imperial Armour Finish
Miniature finish for the Imperial assault tank and cargo containers (Rogue One: A Star Wars Story). Battle-worn Imperial plating against sun-bleached cargo orange, matched directly to on-set reference for screen continuity—street-level Imperial hardware from occupied Jedha.
SW-08 — The Graphic Livery Finish
Miniature finish for a Canto Bight Mounted Police Speeder (Star Wars: The Last Jedi), shown with an exposed cockpit and crew seat. Hard-edged graphic colour over brushed gunmetal—a precision-masking discipline entirely different from organic weathering, executed to screen-scale tolerances.
FULL-SIZE WORKS
SW-09 — The Beauty Finish
Finish work on BB-8 units under Disney/Lucasfilm, including the interactive unit displayed at Madame Tussauds, London—an animatronic that moved and spoke as visitors approached, its finish holding up at touching distance under exhibition lighting. Clean factory colour broken with desert dust, scuffing, and roll wear: proof that “weathering” also means knowing when to whisper.
SW-10 — The Material Rendering Finish
Finish work on a life-size Rey display figure produced under Disney/Lucasfilm. The costume is not cloth and the gloves are not leather — both are hard resin: every wrap, weave, and worn hide surface is hard material, hand-painted to read as the real thing at arm’s length. My artwork rendering—making resin surfaces become leather, fabric, and sun-bleached weave—is the same discipline at the heart of every canvas commission from this studio.
SW-11 — The Battle-Worn Chrome Finish
Finish work on the life-size Captain Phasma armour produced under Disney/Lucasfilm for the Harrods display. Mirror-polished chromed armour, smoked and combat-worn—the most unforgiving finish discipline there is, where the surface itself is a reflection and every process flaw shows. The counterpoint to desert weathering: proof of range from matte fabric to battle-worn chrome. The sprayers coated both the Fazma statue, including her helmet; my job was to break it down and show subtlety but noticeable wear to tell that story.
A Note on Provenance
At Pinewood Studios, I worked as a paint effects artist on screen-used model miniatures for a major science fiction production. Two of those builds were finished exclusively by my hand—a life-size hero cockpit and its studio-scale counterpart—with every paint effect across both, my own work.