was developed by illustrator Rick Sternbach, who had previously designed several vessels and props for the Star Trek franchise including the USS Voyager itself. He created a series of diamond shaped designs for the Dauntless, featuring a protruding bridge. The producers approved one of the designs, but asked him to remove the bridge protrusion in order to give as sleek an appearance as possible. He created a series of drawings to that specification on March 5, passing them to Moore, who sent those designs onto Adam "Mojo" Lebowitz at Foundation Imaging to create a CGI model of the ship. The production team had opted for a computer generated version of the ship rather than a physical model due to the time constraints, and the difficulty that would have caused for the effects shot when the slipstream drive is activated. Sternbach suggested to Moore that the hull of the Dauntless should have a warmer coppery color rather than the typical Starfleet grey. A temporary CGI version for the production team was created using LightWave 3D by Lightwave employee Brandon McDougal while the final version was under construction. The visual effects on "Hope and Fear" were extensive for a Voyager episode, which usually averages around 40 such shots. While some had been as low as 12 effects, there were more than 70 for "Hope and Fear". Foundation Imaging delivered the required effects on time, prior to the deadline of April 30, even though they were still working on other episodes until two days prior. One shot which was not requested, but was created was the final image of the Dauntless as it arrives in Borg space. The composite footage, using models developed for Star Trek: The Next Generation and the film Star Trek: First Contact did not appear in the script, but had been added by Koji Kuramura and Emile Smith. It was well received by the production team, and appeared in the final version of the episode. Arturis During the writing process, the "Yoda" character gradually became younger. Taylor later explained that this was not a specific decision but instead something that just occurred naturally. Casting director Ron Surma contacted agents of a few well known actors in the hope that they could get a notable actor to portray the character, now named Arturis. One of those actors who were not required to audition was Ray Wise, as he had previously