Iain McCaig

Featuring exclusive concept art, character and costume sketches, and vehicle and creature designs by Lucasfilm Publishing and its partners, this official companion to Star Wars: The High Republic (Phases II and III) offers fans a definitive, behind-the-scenes look at the continuing adventures within this ambitious era of Star Wars storytellingThe Art of Star Wars: The High Republic (Volume II) takes fans behind the scenes of Phases II and III of Lucasfilm Publishing’s massive crossover event. Collecting the latest concept art of the new characters, worlds, ships, and creatures of The High Republic—designed jointly by the Lucasfilm visualists and a team of legendary comic book and Star Wars artists, including Phil Noto, Iain McCaig, and Ario Anindito, among many others—and presented alongside development materials and interviews with The High Republic architects, this is an essential guide to the creation, design, and realization of a new era of Star Wars storytelling. The Art of Star Wars: The High Republic (Volume II) is the only book to explore all facets of the design and artistic direction of a story that spans comic books, novels, and young adult books, taking Star Wars fans of all ages on a deep dive into the development of the New York Times bestselling series.

A beautifully illustrated book of ghost stories, written and illustrated by film artist and screenwriter Iain McCaig, depicting daily life in Smalltown, where Lake Wobegon meets Norman Rockwell, with monsters. Smalltown is a special place. Think of it as Lake Wobegon or Norman Rockwell, with monsters. These 12 illustrated short stories are introductions to the people and creatures who live there The ghosts Frightwood and Po—who we discover on a petrified park bench floating on a rock through space—are our guides. Meet the Smalltown vampire, the Sirens in the Sound, hear how the Bell-Ringer finds an apprentice and Albert Moon falls in love and discover the story of the First War of The Worlds. Written and illustrated by renowned American artist, author and film maker Iain McCaig, creator of the iconic designs for Darth Maul and Queen Amidala for the Star Wars franchise, and who has worked on many successful films, such as Harry Potter and the Goblet of Fire, Guardians of the Galaxy, Avengers: Infinity War, and Avengers: Endgame, this is a beguiling, quirky collection that will delight and captivate.

The ultimate visual storytelling book from one of the best in the industry--pages with no words, only sketches Follow Iain McCaig's amazingly captivating images to create your own tale, gently guided by his powerful illustrations. What a wondrous glimpse into the brilliantly gifted mind of a prolific concept artist .

A stunning collection from renowned artist Iain McCaig, now expanded with sixteen pages of bonus content from this expert craftsman and storyteller. "What is Shadowline? It is the place where things meet: light and shadows, hope and despair, good and evil. It is, to me, the most interesting place to hunt for stories." So begins this stunningly realized and beautifully rendered retrospective showcasing work from master storyteller and artist Iain McCaig. McCaig is best known for his work as a principal designer on the three Star Wars prequels, including the iconic characters Queen Amidala and Darth Maul, as well as his work on many major motion pictures, television, and video games. His touch can be seen in such acclaimed films as Terminator 2, Hook, Francis Ford Coppola's Dracula, Interview with a Vampire, and Harry Potter and the Goblet of Fire. Shadowline presents a stunning portfolio of more than two decades of McCaig's masterful concept designs and storyboards, cover art and illustrations, as well as his private sketchbooks and personal paintings, all woven together within the confines of an engrossing, otherworldly journey to his creative realm: Shadowline. . ICONIC CHARACTERS: Discover visionary designs for Queen Amidala, Darth Maul, and other beloved characters across film and pop culture PRIVATE SKETCHBOOKS: More than a retrospective of McCaig's film work, Shadowline contains dozens of images from the artist's personal archive CREATIVE PROCESS: At the heart of Shadowline is a supernatural story that gives readers insight into the artist's creative process LEARN TO DRAW: Features instruction in how to draw and make art REVISED AND EXPANDED: Includes bonus content featuring pieces from McCaig's work on Guardians of the Galaxy, The Avengers, and more.

This guidance is for anyone who wishes to improve energy efficiency in an historic building. There are many reasons to do this. Improving energy efficiency will lower carbon emissions and fuel bills and often increase comfort. It also might be necessary to ensure that a building complies with legal requirements. More broadly, improving energy efficiency forms a part of the wider objective to achieve a sustainable environment. It is a widely held view that older buildings are not energy-efficient, and must be radically upgraded in order to improve their performance. In reality, the situation is more complicated, and assumptions about poor performance are not always justified. Even so, the energy and carbon performance of most historic buildings can be improved, which will help them remain viable and useful, now and in the future. But striking the right balance between benefit and harm is not easy. The unintended consequences of getting energy efficiency measures wrong (or doing them badly) include: harm to heritage values and significance, harm to human health and building fabric, and failure to achieve the predicted savings or reductions in environmental impact. Getting the balance right (and avoiding unintended consequences) is best done with a holistic approach that uses an understanding of a building, its context, its significance, and all the factors affecting energy use as the starting point for devising an energy-efficiency strategy. This ‘whole building approach’ ensures that energy-efficiency measures are suitable, robust, well integrated, properly coordinated and sustainable. In addition, this approach provides an effective framework for communication and understanding between the various parties involved in the process. These include assessors, designers, installers and the people who occupy and manage the building. A logical and systematic process of energy planning underpins the ‘whole building approach’. This guidance describes the key stages of the process, illuminating any problems that might occur and providing solutions. It also includes checklists of practical measures that might be considered, along with links to sources of more detailed information about how to install these measures.