Dane Hallett, who also worked on Alien: Covenant, writes that in his early explorations for the bursters in Alien: Romulus, he wanted to add something without detracting from the beauty of the original. His work for the film started with the cocoon, which would be built practically by Legacy Effects. This dedication to maintaining the original's aesthetic while innovating highlights the delicate balance the team aimed to achieve.
Joshua Viers drew initial designs for the Renaissance Station and the interior of Tyler and Kay's trailer. He says that the spikes at the bottom of Renaissance station were intended to reference the antenna at the front of Syd Mead's concept painting of the Sulaco ship from Aliens. This connection to previous works shows how deeply embedded the franchise's history is within the creative process, ensuring continuity across sequels.
Nick Stath designed interior spaces in the Renaissance, using his experience from his previous career in architecture. His concept for a space deep inside the space station references the raw, industrial look of Aliens. This architectural insight provides a level of realism that integrates seamlessly with the franchise's established themes, enhancing the viewer's immersive experience with familiar yet fresh environments.
Col Price, who worked on world building the Jackson Star mining colony, says artists were encouraged to try things that were off-assignment. For him, that included the echo ship and the offspring. Despite him not normally doing characters, he writes that he 'had a mess on nomadsculpt' to roughly sculpt character concepts and then paint over them, allowing for creative freedom that can lead to groundbreaking design.
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