Taking Andor from Concept to Screen

Randolph Watson's TIE Avenger / Imperial testing hangar artwork syncs amazingly with a final still from the series.

Raldolph Watson's concept art depicting Cassian Andor's TIE Avenger escape compares to the Season 2 scene.

Alex Dudar's concept illustration of the fields and harvest silos of Mina-Rau are nearly unchanged in the Season 2 scene.

Mina-Rau 'mobil-haus' concept artwork by Chester Carr establishes the attention to detail the producers of Andor invoked in their physical set design and building.

Chester Carr's conceptual depiction of Ghorman's Palmo Plaza syncs incredibly with a final scene in the series.

A Ghorman cafe interior is illustrated in this Chester Carr concept art, compared with a Season 2 scene.

Concept art by Alex Dudar of the Ghorman heist environment, and the final frame from the episode.

Concept art by Chester Carr of the Coruscant safehouse interior, compared with a final shot in the series.

Giorgio Grecu's Coruscant hospital interior illustration, compared to the Season 2 scene.

The temple, airfield, and foliage of the rebel base on Yavin is depicted in Alex Dudar's Season 2 concept art.

Rebel living quarters on Yavin are depicted in this Chester Carr concept art, and compared with a final frame from the series.

The community of Ferrix is nearly unchanged from concept artist Chester Carr’s illustration to the final set build.

Bix Caleen (Adria Arjona) works on a piece of machinery in concept art by Peter McKinstry.

Concept artist Scott McInnes illustrates the vacant warehouse where Cassian Andor (Diego Luna) first meets a mysterious buyer, Luthen Rael (Stellan Skarsgård).

The cold gray of an Imperial outpost sits in stark contrast to the lush green landscape of Aldhani in art by Chester Carr.

In concept art by Chester Carr, the Aldhani heist crew assembles a plan, later seen in a scene led by Vel Sartha (Faye Marsay).

Concept artist Giorgio Grecu envisioned Mon Mothma’s (Genevieve O’Reilly) tense meeting to discuss finances as a smaller affair.

The walkways connecting the cells and work areas within the prison on Narkina 5 changed little from Giorgio Grecu’s concept art to the final moment on screen.