Do the two recently-revealed Indiana Jones and the Kingdom of the Crystal Skull posters give you the itch to collect more Indy artwork by artist Drew Struzan? If it does, you'd be in good company -- George Lucas himself has called Struzan the most collectible illustrator working today, and has amassed an expansive personal collection of the artist's many Star Wars and Indiana Jones-related works.

So, if you're an Indy fan, art aficionado, or plain old movie collector, we've compiled what we think is a pretty comprehensive gallery of Indiana Jones artwork by Drew, including posters, book covers, video games, and advertisements. What's more, we've asked the master himself to give us a bit of background on each.

Is there anyone's face you've illustrated more than Harrison Ford's?

[laughs] Between Star Wars and Indiana Jones, I couldn't begin to know how many times I've drawn Harrison. He's said some really nice things in the past, like when I did the book covers -- because those are faked figures, you know. I had talked to him when he was in Chicago doing The Fugitive, and he thanked me "for the bod". The first time I actually saw him was last week at the Oscars from about 200 feet away.

What do you remember about your experience on the very first Indy poster you did?

Well, for Raiders of the Lost Ark, [Richard] Amsel had done the domestic poster, and I did what they were telling me was the international poster. It was the poster for Europe and Asia and other places. As I recall, it was an interesting experience because I got a four sentence paragraph explaining what the movie was about and maybe six photographs. So I did three color comps, and they picked one. I remember at the time it was very interesting because they had their view of what Indy was about. I had done Indy and Marion together and had her figure subservient to Indy's. But they indicated they wanted her to be an equal with Indy -- they had that vision from the beginning since Marion was such a strong character in the film.

You've been illustrating Indy now for 27 years. How has the process of creating the Indy movie posters changed from when you'd originally started back in 1981?

Well, over the years the industry has changed quite a bit. Back then, for Raiders, they didn't want people to know what the movie was about. For Temple of Doom, I got into that [project] very late, I think even a week after it opened. But then on the third one, I had access to absolutely everything -- I knew what the story was about and all the stills from the movie were available to me, so I really had a plethora of things to work from. And now here today, 25 years after that, nobody knows anything about the movie -- we were asked to start doing designs on it without knowing the story! No photographs, no nothing. So we've gone back to the start, where nobody knows anything about a movie.

But of course through the development process I got access to thousands of pictures -- I still don't know what it's about, although I have a good guess. I have enough experience with Indy and the industry to be able to look at the stills and tell you what it's about.

So, truthfully, do you prefer illustrating Indy or Star Wars?

Well, I have to find the passion that the writers, directors and actors had for making the movie, and that helps me to know what spirit to produce in the artwork. So, you know, Star Wars has one spirit, and Indy has another. I can be as passionate for one as I am for the other. I let each project kind of give me the spirit and tell me what it's about, so I find the joy in that creative part of the job. So, I don't have a favorite.

Are you given any more or less latitude when it comes to illustrating the book covers and game box graphics than the movie posters?

Everything in the world is easier than a movie poster. You don't have as many chefs, you don't have as much money on the line, as much time devoted to it. Everybody's extremely interested, and even nervous about it because it's got to perform right off the bat. If the movie poster doesn't fix peoples' spirit and tell them to go see it, then they're lost. On the internet, you find out if the poster is working immediately.

Book covers were a real pleasure because they just let me do what I wanted at that point. With the Indiana Jones series, they were calling me the Indy artist. In fact I got the job doing the book covers because George said to have me do them. The book covers were a whole lot simpler. They were a nice respite from the heavy pressure of making a movie poster. I could just kind of do what I wanted.

Here's a movie-specific question for you regarding the Indy III artwork: You did the movie poster art, of course, but there was also a Pepsi premium poster done that very well could have been used for a movie poster. Was that artwork a candidate for the theatrical campaign?

I did so much work on that film [laughs].

No, I was hired by a design firm out of New York that had the Pepsi account, and they came to me to get it done. They gave me a lot of really cool work. Again, I had so much more freedom because I really wasn't under the pressure of the movie. I think those pieces [for Pepsi] came out really extra special. I was really free to do what I wanted.