“The Art of Star Wars: The Rise of Skywalker” will be released on March 31 from Abrams Books.

If you’re a “Star Wars” fan, the book was originally set for a December release and showcases beautiful concept art and exclusive interviews with the filmmakers, concept artists, director J.J. Abrams, and more.

Insider is exclusively debuting five pieces of art from the upcoming book, which is available for pre-order here.

The artwork includes different looks for Rey, Ben Solo, and an alternate version of an early scene from the film. It gives a peek behind the curtain of what went into the making of the film at various stages.

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This is slightly alternate design for Rey’s outfit in “The Rise of Skywalker.”

Foto: Chief costume concept artist Glyn Dillon worked on this version of an alternate look for Rey in “The Rise of Skywalker.” Source: The Art of Star Wars: The Rise of Skywalker by Phil Szostak, and Lucasfilm Ltd. © Abrams Books, 2020 (C) 2020 Lucasfilm Ltd. And TM. All Rights Reserved. Used Under Authorization

“I thought white would look great. And then we added a hood to give it more of a Jedi vibe. It’s also a bit of Leia; from the side, I based it on the Leia hood from ‘A New Hope,'” said chief costume concept artist Glyn Dillon of the look’s design.

According to Dillon, in the book, director J.J. Abrams liked Rey’s look in “The Force Awakens,” so they wanted to do something with a similar feel with different colors. The book contains a few designs that show a more wrapped look resembling Rey’s “TFA” look, another with the darker color palette from “The Last Jedi,” and another off-white, almost gray, ensemble that looks like a more formal, updated Jedi robe.

“I like the idea that she’s going to be our Skywalker, but she’s not a Skywalker. Then, for our purposes, ‘the Skywalker’ is really a metaphor. It doesn’t have to be something that’s directly connected to blood,” said Pablo Hidalgo during a May 21, 2014 meeting of Lucasfilm’s Intellectual Property Development Group (IPDG).

In addition to alternate hero costumes, the book also features a spread of designs for Rey when she sees a dark version of herself in the film. The designs are referred to as “Sith Rey” and “Dark Rey.”

In case you need a reminder, here’s Rey’s final outfit look in the film.

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Foto: This scene from “The Rise of Skywalker” shows Rey and Kylo Ren fighting. Source: Lucasfilm

It’s tough to tell here, but Rey’s final look also had that same white hood.

“In ‘Star Wars’ films, white costumes have been used quite a lot,” said Dillon. “I think it works really well, the whole black-and-white nature, the yin and yang.”

In an earlier version of the film, Rey encountered the giant serpent near the film’s start at the Rebel base.

Foto: The concept art above is by Luke Fisher who was a creature concept designer and senior sculptor on “The Rise of Skywalker.” Source: The Art of Star Wars: The Rise of Skywalker by Phil Szostak, and Lucasfilm Ltd. © Abrams Books, 2020 (C) 2020 Lucasfilm Ltd. And TM. All Rights Reserved. Used Under Authorization

“Initially, Rey was to encounter the serpent in the surrounding forest of the rebel base,” said creature concept designer Luke Fisher. “Upon presenting a round of designs, J.J. informed us that it was no longer in the script, but he would look at the designs anyway. He really liked the direction I’d taken with serpent designs and joked that maybe they should write it back into the script.”

“I presumed that was the last we’d see of the serpent. Sometime later, we got word that it had indeed been written back in, this time in an underground cave system,” Fisher added.

Fisher says he took inspiration for the serpent from a prehistoric fish called the Dunkleosteus in order to find a design that allowed the team to build a practical puppet for filming.

“By taking its predatory appearance, expanding its plate-like structure, and adding a soft underbelly, I found a design that I felt would both fit the ‘Star Wars’ universe and allow us to take the practical approach,” said Fisher.

A few more sketches in the book show the serpent with more of a snake-like and cobra design. Some of them are mixed with bird beaks.

The team underwent a few different designs to figure out what Ben Solo’s outfit should look like once he shed the robes of Kylo Ren. They considered a few different shirt colors, including browns and blues.

Foto: This look is another design from Glyn Dillon. Source: The Art of Star Wars: The Rise of Skywalker by Phil Szostak, and Lucasfilm Ltd. © Abrams Books, 2020 (C) 2020 Lucasfilm Ltd. And TM. All Rights Reserved. Used Under Authorization

“It’s something that he might have worn underneath his clothes or a garment that he would have had close at hand. Just simplifying it down and making it not black, but off-black. We looked at browns and teal blues,” said Dillon.

What’s more fascinating are the three concept designs the book contains of Kylo Ren’s fixed helmet. Two other options were forging it with bright yellow or silver lines running over the mask instead of red.

“I liked the silver look, as if it was made of the same stuff that the stripes around his eyes were made out of,” said Dillon. “But J.J. was really pushing for this red vibe.”

The red that they landed on is supposed to resemble the lava of Mustafar, the location of Darth Vader’s home.

An alternate version of Kylo Ren’s board room wouldn’t have had a window.

Foto: The piece of concept art above is from concept artist Adam Brockbank. Source: The Art of Star Wars: The Rise of Skywalker by Phil Szostak, and Lucasfilm Ltd. © Abrams Books, 2020 (C) 2020 Lucasfilm Ltd. And TM. All Rights Reserved. Used Under Authorization

The finished Star Destroyer conference room in “The Rise of Skywalker” has a round table with Kylo Ren against an open window.

“I tried to do something very Ken Adam [production designer for the early James Bond films] with the boardroom,” said co-production designer Kevin Jenkins. “But at the end of the day, J.J. wanted Kylo framed against a window.”

The snowy planet of Kijimi was inspired by Japanese director Akira Kurosawa as well as legendary “Star Wars” artist Ralph McQuarrie.

Foto: This piece of concept art, labeled Main Street sketch, is from concept artist Bob Cheshire. Source: The Art of Star Wars: The Rise of Skywalker by Phil Szostak, and Lucasfilm Ltd. © Abrams Books, 2020 (C) 2020 Lucasfilm Ltd. And TM. All Rights Reserved. Used Under Authorization

This piece doesn’t show any alterations to the finished film, but co-production designers Rick Carter and Kevin Jenkins said when they were originally working on the “snowy city,” as they refer to it in the text, they were inspired by Japanese director Akira Kurosawa to come up with square roofs and flagstone walls.

“Hopefully, when they get to the snowy city, people will feel that Ralph McQuarrie would have approved of that design, and it would have been in his vernacular,” said Jenkins.

More important, the Kijimi designs come at the start of a chapter where “TROS” co-screenwriter Chris Terrio discusses how much work went into writing and rewriting the film.

“I’ve never rewritten a film as much as this one,” said Terrio. “It’s like a tide. There’s a new script every morning. But we just keep going at it and going at it, loosely thinking that it’s not good enough. It’s never good enough.”

“Luckily, the production team is so good that they can shift and adjust,” he continued. “We’re course-correcting as we go – we’re trying things, and some things don’t work and some things aren’t ambitious enough. Some things are overly ambitious. Some things are too dense. Some things are too simple. Some things are too nostalgic. Some things are too out-of-left-field. We’re finding our balance.”

“The Art of Star Wars: The Rise of Skywalker” is out March 31. You can purchase it here.