In this scene, R2 is hanging upside down from a magnetic platform. The gizmo sticking out is a welding torch. He's working on the speeder in Thall's garage.
In order to speed up production, the layout artists were divided into two categories: Senior Layout Artist and Assistant Layout Artist. The Senior artist was the one with more experience or drawing ability as far as roughing out the scenes. The Assistant was the artist better at the clean up of the drawings.
Each Senior artist had an Assistant. The Senior artist would draw the layouts at 6 field size in rough and then give them to the Assistant, who would enlarge the drawings and clean them up at their full size.
These are my 6 fld roughs, which are actually pretty clean. My assistant would often just enlarge the drawings and repeg them rather than bothering to redraw them (which made his job fairly easy at times.)
The pose below is from a different scene in which the camera pans from R2 and 3P0 in the back of the speeder, up to the front, where Thall and Kea are sitting.
The blue lines with the"M"s on them are matchlines which would indicate that the character's cel level was supposed to be on top of the overlay level. The matchline was necessary because back in the "old days" when this was made, they only had two peg bars, top and bottom. Since the top peg was the panning bar, the bottom had to hold both the overlay and the animation level. Rather than have the overlay on top of the animation (which would be less of a hassle drawing wise), it was placed below so the camera operator wouldn't have to remove the overlay every time a new animation cel was required.
