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95

89
TM

THE OFFICIAL STARSHIPS COLLECTION

UNIVERSE CLASS
U.S.S. ENTERPRISE
TM

NCC -1701- J
LAUNCHED: 26th C

OPERATED BY: UFP

LENGTH: 3,219 METERS

 NC C -1701- J Contents ENTERPRISE-J
04: ENTEPRISE-J SPECIFICATION
08: DESIGNING THE SHIP

16: DOUG DREXLER

18: ON SCREEN

Stand assembly:
Push the stand over the back of the
saucer with the ship tilted down.

TYPE: MULTI-MISSION EXPLORER

u
AFFILIATION: FEDERATION

u LAUNCHED: 26th CENTURY

u Push the ship into
a level position.
LENGTH: 3,618 METERS

CREW: UNKNOWN
U.S.S. ENTERPRISE

WEAPONRY: UNKNOWN
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 SHIP PROFILE

 The Enterprise-J existed in a

timeline that was shown to
Captain Archer by the
time-travelling Daniels.

I
n one timeline shown to Captain Jonathan impossible by 22nd-century standards but it used
Archer, the Enterprise-J was a 26th century ship advanced technology and materials that were

U.S.S.

ENTERPRISE- J
that was operated by the United Federation of barely imaginable in the early days of spaceflight.
Planets. It had a multi-species crew that included a Among its many accomplishments, the Enterprise-J
race Archer was fighting in 2154: the Xindi. took part in the battle of Procyon V in which the
The Enterprise-J was a massive ship that Federation pushed the sphere builders back into
measured two miles in length. Its structure seemed their own space and saved the Galaxy.

There was still an Enterprise in the 26th century: a massive

ship that played a part in an historic battle.

5
 SHIP PROFILE NCC-1701-J PLAN VIEWS

FUTURE SHIP
The Enterprise-J
‘existed’ in a timeline
that was shown to
Captain Archer as part
of a temporal cold
war and it is unclear
whether it is part of the
future that will come
to pass.

REGISTRY
Although Daniels told
Archer that the ship
they were on was the
Enterprise-J the registry
on the hull simply reads
NCC-1701, as it did on
the Constitution-class
ship commanded by
Captains Pike and Kirk
in the 23rd century.

6 NCC-1701-J PLAN VIEWS

 DESIGNING THE SHIP

DESIGNING THE ENTERPRISE - J

It's the most futuristic Enterprise ever - an impossible ship that was grown The need to look even more futuristic than all beloved Enterprise. Like what had gone before
in the 26th century and it only made a single appearance. the other Enterprises was what made Drexler feel 'wasn't good enough.'"
it had to look ridiculous. “We've been designing Drexler firmly believed that in order to look

D
oug Drexler is very clear that if the design fulfill the order of far-flung future.” starship for decades,” he says, “How do you say futuristic, the Enterprise-J had to break the rules
of the Enterprise-J was going to be a As Drexler recalls the brief was pretty basic, and futuristic, when you have been living the future – to do something that seemed impossible. “The
success, it had to look ridiculous. “Its all he really knew was that the Enterprise-J had to for that long? Where do you go? In a way it is status quo,” he insists “was our enemy.”
structure had to be impossible. It had to be look futuristic and that it had to be ready in two very similar to the problem that Andy Probert was He started the process by producing a series
impossible in overall size, mission, and facilities. I days time. "I remember Herman saying, ‘Mister given when designing the Enterprise-D. Gene of quick pencil sketches that gave an impression
knew that if someone looked at it and didn't say, Berman would like to see designs for a starship at Roddenberry was looking for a 'recognizable' of the kind of shape he was looking for. At this
‘That's ridiculous! One photon torpedo would least four hundred years ahead of where we are Enterprise that was unquestionably different. That's stage he says the idea wasn’t to come up with
knock off a nacelle like a soap bubble!’ I'd failed. I now. I'll need some sketches to take to him the day a real challenge. You're stepping into a minefield. a polished drawing, but just to establish a design
knew it had to break ape-brain rules in order to after tomorrow.’” Dedicated fans would see it as an affront to their direction and to find a distinctive shape “This was

09
 DESIGNING THE SHIP

p This was the first sketch Drexler produced. The

idea was to maintain the familiar elements of Starfleet
design but to push them to the edges.

especially important with the Enterprise-J, because magnitude would be built like a 20th-century trestle Enterprise-J. Not only is this mathematically more p The early sketches were
only meant to establish
I knew that we would only being seeing it for a was absurd. Sparks spewing from welding torches? advantageous than standard truss construction,
rough shapes, but most of
second or two. it had to have a dramatically Positively laughable! More ape-brain thinking that but it will give the ship a heretofore never seen the important ideas were
different signature, yet it still had to be an had no place here, and honestly, to my way of design ethic.” already present.
Enterprise.” thinking, had no place on any of the Enterprises Another decision Drexler made was that the ship
after the NX. would be massive. “You know how the original
SOLID FOUNDATIONS “No, the Enterprise-J would be 'grown,' like an Enterprise was described to Charlie X as 'a whole
Drexler believes that a good design shouldn’t just organic animal. Even today we are printing parts city in space'? The 1701 was really a village
spring from a ‘nice’ shape but should be rooted for machine. SpaceX is printing rocket engines. compared to the J. At two miles in length, it even
in an understanding of how the ship functions and What's it going to be like in 500 years, and on a dwarfed the D.
what is inside it so, like an actor preparing for a grand scale? Starships will be printed. Structural “You can live in an 'apartment' similar to what
role, he developed a backstory for his ship. members will not be trusses and girders. Not by a we have seen on the D, but imagine that there are
“It was important that the basic mission profile, long shot.” suburbs on the ship, that are like living in a valley
and its capabilities be developed before I went on Earth, with a sky, and a sun.
too far with the design. Even if people hated it at IMPOSSIBLE SHAPES “Your starship, would have large parks,
first, once they found out that it was all built around Advances in materials would also mean that the entertainment zones, and entire universities on
a real skeleton of imagination, and thought that ship’s designers wouldn’t be concerned with the board. The ship is so large that turbolifts would be
respected the world they loved, they would get kind of limitations we face today. “Its elegant replaced with site-to-site transporters. If you're not
behind it 110%. If they find out that you've built it on curves are based on the optimal shape to support in a hurry, you can catch the Grand Concourse
farts, you're doomed.” itself with a minimal amount of building material," Freeway, and drive your 20th-century Maserati into
Drexler figured that by the 26th century the he explains, "Because structural members will the 'Urbs.' Sometimes a holo experience gets to be
way we build things will have changed radically be 'printed,' we will be able to custom design psychologically unfulfilling. The same would go for
p From the beginning Drexler wanted to
give the J incredibly spindly nacelles. and this would have implications for the shape every individual part to cater to gradient stress rock climbing, and skydiving. On this ship you can
of the ship. “The Enterpise-J would not be distribution. This will allow us to take advantage do the real thing.”
welded together. The very idea that a ship of this of fractal patterns in the construction of the In another effort to move into the future, Drexler

10 DESIGNING THE SHIP 11

 DESIGNING THE SHIP

 One of the designs Drexler worked

up was a rejected concept for the
 In this version, which Drexler called the
U.S.S. Voyager, the Altair class.
Congo class, he added a saucer to the Altair
class, which became the engineering hull.

 The Altair class was based on

an idea that Mike Okuda suggested figured that the inside of the ship would abandon bridge crew on the Enterprise-J can fly any bridge
and was inspired by an aerial.
the traditional concepts of up and down, in history. It's part of their training, and it's incredible
which, after all, were redundant in a zero gravity fun.”
environment.
“The ship also had prominent, HUGE windows ALTERNATIVE DESIGNS
that covered large parts of the hull. Most people Armed with these ideas about how the Enterprise-J
imagine that these would be ceilings and floors, worked and what life aboard was like, all Drexler
meaning that our feet are always pointing 'down' had to do was decide what it looked like. Because
in relation to the ships direction of flight. But why? television is made at high speed – remember that
We control gravity and energy fields. There are he had a little over two days to develop his design
large areas where your feet are pointed toward – he started by pulling out an old design that he
the center of the saucer, and the supposed ceiling had always liked.
and floor windows are actually walls. Now you're “When VOYAGER was in pre-production, and a
p Drexler's CG models were only
 Drexler would later use the doing some stuff that a lot of people will crinkle ship search was in progress. I asked Mike [Okuda],
designed to be quick 'sketches' and weren't
design for this image from the their nose at! Good job! detailed but by working in 3D he was able “is there a pet idea of yours you’d like to see
Ships of the Line calendar. “What is it like living on a starship that is a to show them from different angles. developed that we could pitch to the producers?
quantum leap beyond everything that we have Mike rubbed his chin thoughtfully. 'You know
seen so far? Of course, if you do live in 'quarters' those V shaped television antennas you see on
that are an apartment, you can change the automobiles? That.'”
holosettings to make it anywhere, or anything you Drexler had worked the idea up but it had
want. been rejected as too much of a departure from
“What about the ship's bridge? In truth you conventional Starfleet design, but since the
don't need to ever leave your cabin. It can all be Enterprise-J had to be so advanced, it seemed like
'conferenced' wherever you are. You will go to a a good option.
location that is physical, but is physically malleable, “I took that and fleshed it out. We both like this
to be any bridge that is the 'Bridge Of the Day.' The design because it broke from the saucer, yet still

12 DESIGNING THE SHIP 13

 DESIGNING THE SHIP

 The original plan

was for the Enterprise-J
to be seen fighting the
battle of Procyon V but
this was abandoned for
budgetary reasons.

felt starfleet. It would evolve into what we called which Drexler called the Congo class and finally
an Antares Class ship, and was used in the Ships Of the design that would be chosen, which would
The Line Calendar. The design had been submitted eventually be named the Universe class.”
as an idea for the NX but once again it was Zimmerman looked over the finished designs and
considered too different. For the Enterprise-J gave his input before Drexler finally produced a
I would sleek it somewhat, and rebuilt it in series of short animations, which, as he explains,
Lightwave. was radically new territory in 2004.
p Drexler wanted the ship to be massive “So I had that, and I had some sketches. Now it “Back then, designing in the computer was
- he says that it is two miles long and is so was time to go to the computer and explore. I only revolutionary. Suddenly we could size up a design
large that it has highways inside it.
had a matter of hours to stretch some polygons by being able to turn it in 3D space, and see how
fueled by all the preparation. But this kind of light plays across the shapes. We may have been
pressure creates a creative zone in your head the first television art departments to make use of
that is a blend of conscious and subconscious. such technology. After I’d talked to Herman, the
Then you need to blend all of that with equal machine spat out a series of images. I feel positive,
parts of terror. The preparation is the fuel, the spark but I know that anything is possible. What a great
that ignites it is fear. It's an unbeatable combo. If feeling handing Herman a VHS tape to show the
you're not scared, you're missing one of the most producers. Unheard of! After the meeting Herman
powerful creative ingredients. I start modeling, and came back with a big smile, and pointed to the
I mean fast. It's a gesture sketch, but this time in the approved Enterprise J. 'No notes,' he said. Send it
computer. I don't worry about details, and I know to Dan Curry!'”
I can suggest a lot in the texture with fast graphic But as can also be the way in television, the
maps made in Adobe Illustrator.” Enterprise-J was a victim of budget cuts. The script
had originally called for shots showing it fighting
THE CLOSING STRETCH in the Battle of Procyon V, but it was decided that
p Drexler later decided that the J would Within a matter of hours, Drexler had developed the story could still be told without seeing the J in
belong to the Universe class and theorizes that three serious alternatives: the rejected Voyager action. Instead we saw Archer and Daniels inside
it moves between Galaxies by folding space.
concept now dubbed the Altair class, a version the ship with a graphic behind them on the wall. It
where a saucer was added to that design, simply wasn't the Enterprise-J's time.

14 DESIGNING THE SHIP

 BEHIND THE SCENES

series earned him two Emmy nominations.

However, having struck up a friendship with
Michael Okuda, Drexler made the decision to
move over to the scenic art department just as
DEEP SPACE NINE went into production. Initially
hired as a scenic artist he worked alongside
Okuda’s wife, Denise, while at the same time
pitching in as a part-time illustrator. He also
contributed to GENERATIONS, FIRST CONTACT
and INSURRECTION.
Following the end of DEEP SPACE NINE,
Drexler made another career change, this time
moving over to VFX house, Foundation
Imaging, where he developed his skills as a CG
animator and modeller. Before long Herman
Zimmerman approached him and asked him to
return to the art department to design the
Enterprise NX-01 for the series STAR TREK:
ENTERPRISE. Drexler took up the offer to return
to Paramount and continued working on
Returning to New York, Drexler continued ENTERPRISE as a senior illustrator, while at the
working in his store until he was offered a job same time lending his skills to the final TNG
as assistant to legendary make up artist Dick movie, STAR TREK NEMESIS. In his ‘spare time’ he q Drexler moved over to
Smith, which came about after he asked Smith has also produced art for the STAR TREK the scenic art department
on DS9, where among
for advice about a Halloween costume. Drexler Encyclopedia and the STAR TREK: DEEP SPACE
other things he was
worked with Smith on the Ridley Scott film The NINE Technical Manual, for STAR TREK book responsible for creating
Hunger and later films such as Starman, Fatal covers and for the Ships of the Line calendars. onscreen schematics.

DOUG DREXLER
Attraction and Poltergeist III.
When the news broke that Gene
Roddenberry was hard at work on a new STAR
TREK series, Drexler was working in partnership
with fellow makeup artist John Caglione.
Drexler wasted no time setting up a meeting
The Enterprise-J’s designer really is a man of many talents and he has Gene Roddenberry and Bob Justman with a
view to securing a job on the series. However,
had the chance to influence STAR TREK in many, many ways. union rules prevented Drexler from accepting
their job offer, while at the same time, Drexler

F
 Doug Drexler with ew people involved in STAR TREK have had STAR TREK enthusiast. Together they produced and Caglione had an agreement in place not
the models of K7 and as varied a career as Doug Drexler, who the USS Officer’s Manual, one of the very first to uproot their business and move to the West
the original Enterprise since the 1970s has been a fan, a makeup STAR TREK Technical manuals. It was during this coast without a firm job offer.
that were made for the
artist, a scenic artist, a CG animator and a period that Paramount Studios announced However, several months after that visit,
DS9 episode, Trials and
Tribbleations, an episode concept artist. Back in the 1970s Drexler set up they had greenlit a STAR TREK motion picture. Drexler and Caglione began work on Warren’s
that was as close to a small store selling STAR TREK merchandise in Drexler and Mandel wasted no time boarding a Beatty’s film adaption of Dick Tracy. Not only
working on the original New York, called the Federation Trading Post. flight to LA intent on seeing the new Starship did their work earn Drexler and Caglione an
STAR TREK as you can
imagine.
This led to him being approached by Paradise Enterprise. After managing to sweet talk their Oscar for best makeup and hair, but it made
Press and asked to write and edit one of the way onto the lot, they scored meetings with Drexler eligible for union membership which in
very first STAR TREK magazines. members of the art department and even turn, made it possible for him to now accept
The store was also responsible for bringing came away with a letter of recommendation Michael Westmore’s offer of work on TNG. Over
Drexler together with Geoffrey Mandel, a fellow for their troubles. the next three years, Drexler’s work on the

17
 APPEARANCES NCC-1701-J
NCC-1701-D
COMING IN ISSUE 90
ON SCREEN TRIVIA ROMULAN
SCOUT SHIP
The Enterprise-J has had less screen time
than any ofther Enterprise, with the possible
exception of the Enterprise XCV-330 a ship
that has only been shown as paintings and as
a model. The J appears in a short sequence
in a single episode - Azati Prime - and we
only saw the exterior in a graphic that was on
the wall behind Captain Archer. We don’t EVERY
Inside your magazine
TWO WEEKS In-depth profile of the Romulan Scout
know the name of its captain and we don’t
AT YOUR
see a single crew member. RETAILER Ship, a small vessel that was part of a
complicated plot

How artist Rick Sternbach designed the

third Romulan ship we’d ever seen

The inside story of how one of STAR

TREK’s greatest writers, Ronald D.
Moore, made his breakthrough

The Enterprise-J’s designer, Doug Drexler,

speculates that the letter J does not
necessarily mean that this is the eleventh
starship to bear the name. He points out that
this would mean that there were four ‘unseen’
Enteprirse’s during the 25th and 26th

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FIRST APPEARANCE: ‘AZATI PRIME’ (ENT) centuries. Of course, we have no idea how
TV APPEARANCES: STAR TREK: ENTERPRISE precise Daniels was being when he said he
had taken Archer 400 years into the future.

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DESIGNED BY: DOUG DREXLER
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DAMAGES REPLACED - NO QUESTIONS ASKED!
that will destroy Earth. The crew have Daniels, who tells him that he is far too
tracked the Xindi weapon to a heavily important to history to throw his life
defended planet. Tucker and Travis away this way. The sphere builders,
use a stolen Xindi insectoid shuttle to who are behind the Xindi’s attack on
investigate the planet and discover the Earth will eventually be defeated by a
weapon is hidden underwater. Federation fleet at the Battle of Procyon Totally coincidentally a drawing in the back of
The weapon hasn’t been completed V, which is where Daniels has brought the STAR TREK: THE NEXT GENERATION
Technical Manual illustrating possible future BINDERS BACK ISSUES
yet, but it won’t be long before it is Archer. And the Federation will only Order specially- Complete your collection
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memory of ever seeing this drawing. are two designs to know when rare items come
explosive chain reaction that will destroy however, is unmoved and is determined choose from. back into stock.
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