The studio model of the Star Trek starship Enterprise is now on exhibit in the Boeing Milestones of Flight Hall. After taking it off exhibit in 2014, assembling a special advisory committee, examining it using x-ray radiography, searching out long-lost photos, and planning the work in great detail, months of hard work culminated in several weeks of painting, detail work, rewiring, and final assembly. In the end, the whole project was a tremendous collaboration.

The Enterprise model, a genuine television star of the 1960s, now rests in the south lobby of Milestones (near the Independence Ave. entrance) in a new, state-of-the-art, climate-controlled case. From the center of the Hall, the restored Enterprise rests with its camera-ready side on full view. Walk around to the back to see the less-decorated port or left side, where the wires bring power to the internal lights and motors. The model’s internal lighting has been replaced with modern LEDs, which will come to life at 11:00 am, 1:00 pm, and 3:00 pm local time each day. An interactive touchscreen attached to the case allows visitors to learn more about the model, Star Trek, and the Museum’s long interest in imagined spaceflight.

The final stages of the conservation treatment came together in the last few months. In April 2016, the Enterprise model, in pieces, was in the large artifact booth in the Mary Baker Engen Restoration Hangar. Special Advisory Committee member Gary Kerr was dubbed our “oracle,” double-checking his notes and diagrams before any detail went onto the model. (There are 952 holes in the faux grill inside the starboard nacelle. He counted.) And Bill George and John Goodson, both of Industrial Light & Magic (ILM), worked with Kim Smith of Pulse Evolution to carry out the physical detailing. Together, they were consummate professionals, bringing their expertise into an ongoing conversation with the Museum staff. More than once, the whole team stopped work to discuss the choices being made, assuring that everyone agreed before proceeding.

Before this dream team of model painters arrived, the Enterprise model’s body had already been expertly cleaned, reinforced, and repaired by Engen Conservation Chair Malcolm Collum, Dave Wilson, and Sharon Norquest (with a much-appreciated assist by Lauren Horelick). Then the whole model (minus the upper saucer paint, of course, which is original paint from the 1960s) was painted with a base color that had been carefully matched by the Museum’s Dave Wilson to the production base color that had been uncovered in multiple places on the model in sanding tests.

Kim’s first step was mixing the colors that would be used for the weathering, details, and markings. The detail paints were mixed to match the colors that Dave had carefully revealed, and were adjusted and balanced for appropriate contrast and intensity based on comparisons with the historic images.

A full-scale mockup of several of the model’s parts (nacelles and secondary hull) provided a way to test paints, techniques, and finishes before applying any paint to the actual artifact. Some eagle-eyed fans even caught sight of the mockups on the Restoration Shop floor and wondered online whether the Enterprise work was underway. The actual artifact pieces stayed in the paint booth, the large artifact bay, or otherwise out of public view through most of the process.

The masking was an art form itself. Bill, John, and Kim layered up Post-it® notes because the low-tack adhesive would be least likely to affect the base paint. And then they created fine edges using masking tapes, burnished to create a seamless transition between colors. The end result, as you can see in these photos, is beautiful – bringing the model back to what it would have looked like at the end of shooting season two, after the Trouble with Tribbles episode.

John Goodson shows off the complex masking used to create the markings on the bottom of the secondary hull of the Enterprise model.

Kim Smith of Pulse Evolution adds red detailing to a carefully masked area of one of the Enterprise model’s nacelles, or engine pods.

Bill George (foreground) and John Goodson, both of Industrial Light & Magic (ILM), mark the position of windows on the secondary hull before painting.

Kim Smith and curator Margaret Weitekamp check the deflector dish while conservator Sharon Norquest and John Goodson work in the background.

Engen Conservation Chair Malcolm Collum and Will Lee discuss the markings on the bottom of the saucer section before the model is reassembled.