Source: http://www.lexxlight.ru/photos/all.html
Spoiler


The wildly bizarre Brigadoom (directed by Bill Fleming) was designed by David Hackl. I was asked to provide concept art for a scene with a judge and jury.
Ink on sketch-grade tracing paper, photocopy-enlarged, black Pantone marker and white-out (poor man's guache) added, then scanned. Original 11" x 17"
Pencil and graphite on vellum.
Black Prismacolor, ink and whiteout on blown-up photocopy of pencil sketch (pre-Photoshop stuff)
(In Gigashadow the image is reversed, HDS descends from upper left to lower right.)
Early study of the mortuary.
Pencil on sketch trace. Original 11" x 17"
The lower three "tombs" were built on Soundstage 2 at the old Electropolis Studios. The rest was digital set-extension.
Pencil and graphite on sketch-grade tracing paper, 24" x 12"
Among the first drawings done for LEXX (wasn't even called LEXX then.)
David Albiston built an exquisite series of sculpey models of the cluster lizard -- these were used to determine the colour scheme. I have no idea what happened to them.
Tricky bit of design, the three-jawed mouth.
One always feels a sense of attachment to one's first monster.
Two from a series of ships (never made it into the show).
I no longer have the drawings I did for the Prisoner Transport ship we see in the opening, but it was similar to these two.
These are typical of the sort of drawings sent to the CG modelers at C.O.R.E. Digital in Toronto.
The design of the monastery was based on medieval Scandinavian architecture. I also did several designs for the interior sets which were built in the famous Babelsberg Studio outside of Berlin. I didn't go to Germany to supervise their construction and the sets bear only passing resemblance to my designs. (Sigh)
Original sketch was graphite on tracing paper, then photocopied, ink and black pencil-crayon, photocopy again, lather, rinse, repeat. (Original 11" x 17")
We see it in the background briefly near the beginning of the episode, however the surrounding land is flat and the "brothers" are tilling a field.
Concept drawing for gates to courtyard.
These gates were 10' - 11' in height and were built in the old Studio One at Electropolis. Though there was much debris dressed in front of them, the construction crew (bless them) built the gates and walls exactly as designed.
For "earth" we used several dump-truck loads of odorless Lunenburg County compost, and pushed in around with a Bobcat.
Pencil drawing - photocopied; then finished with ink, black Prismacolor and white paint pen.
Concept illustration of the Twilight Island - semi-final resting place of the former His Divine Shadows.
This view was used as a matte for a live action shot of Stan in the mid-right (Stan is comped-in of course)
Pencil & conte over 11x17 photocopy blow-up of photo of modelling clay model. (Got all that?)
We see the CGI Moth approach and land in the courtyard. We built the courtyard as a set in Studio One at Electropolis. The courtyard gates in the next drawing appear in the lower right.
This view is used in the show as the Moth approaches the island
Okay, finally I have to say a few things about the original LEXX Bridge – in my 20+ years as an art director, this has to have been the WORST SET EVER. And it’s not just me saying this, everybody hated it: it was open on all sides so you were always in danger of shooting off it; it had all different levels so you couldn’t dolly (didn’t have a StediCam in thoses days); there was nowhere to put the lights; and it LOOKED like a bloody theatre set.
Well, that’s because it WAS a bloody theatre set! The guy who was asked to design it was aTHEATRE designer (no names mentioned, but he never got another chance to design a film set). What he designed was a theatre-in-the-round set … totally inappropriate for 35mm film. However, by the time we got his design model (he worked on it at home rather than in the art department) it was too late, we were too close to going to camera and had to go with it.
If you ever wonder why there’s so much Rosco smoke in the Bridge shots, it’s so you don’t see the conctete-block walls of the old Pier Nine studio.
*****
A couple of years later, for the series, Ingolf Hetscher and I were asked to design another bridge – one that worked. I remember Paul D. calling what we came up with … the SECOND worst set ever! (LOL)