Unearth - Jesse Riggle: Art in Board Games #27
I'd also recently moved to Europe for a stint and loved seeing all the old castles and wanted to do something with that. So I combined that with my affinity for isometric projections and started to play around and liked where it went. The game features a bunch of unique environments, such as..
Welcome to Issue 27 in my series sharing the stories behind board game art.
This week I’m joined by Jesse Riggle, an artist and illustrator whose stunning work on the game Unearth with publisher Brotherwise Games caught my eye.
For more great insights into board game art, head to the interview archive.
Hello Jesse, thanks for taking the time to speak to us. Firstly, could you tell us a little bit about yourself?
Sure, aside from commercial work I do a lot of pop culture related paintings for gallery shows and I try to do a fair bit of personal work in my free time. I’ve also spent as much time as possible traveling the past several years.
Now we know a little more about you, I have to ask, as a child what did you want to be when you grew up?
I wanted to be an entomologist (insect scientist) or a cartoonist. I decided in my early teens to pursue the art thing instead of the science thing, but I still sometimes like to imagine a life living in a jungle looking for new bugs.
So how did you first get involved in making board games?
I’ve only worked on one game, and it was something that kind of found me. I did a series of pieces in an isometric style that resonated with the right people and it grew from there. I was super excited to work on the project, as I am a fan of board games and am impressed with the volume of amazing games coming out these days, it seems to be a rapidly evolving art form.
When you are working on the art of a board game can you give us a quick overview of your creative or thought process and has this changed at all since you first started?
My main focus is making art that people will enjoy looking at. It’s kind of secondary to the gameplay, but I think something that is aesthetically interesting adds another layer to the whole experience. I’m also concerned how to keep the art consistent, but unique enough that the different parts are identifiable at a glance.
You were involved in the creation of Unearth, so could you tell us a little bit about what that involved and what were the biggest challenges you faced?
For Unearth I was given the task of creating the overall look and feel of the game. It was based on a style I had already worked in so it came pretty naturally, but I was faced with creating a large number of pieces with unique settings. The biggest challenge was trying to remain consistent whilst keeping the imagery from being too repetitive, which I tackled during the rough sketch phase. I tried to think of larger overall shapes for each piece and then picked different details to focus on as a sort of two-tiered approach. One detail might be a single central structure dominated by a water feature and another a series of smaller structures connected by stairs. I think it helped to try and sketch out as many pieces as possible before moving to the final stages.
What was the inspiration or core idea that drove your work on Unearth?
As I mentioned, the style was based on some personal work I had done just for fun. I often draw strange somewhat lumpy characters and faces, so I had a desire to do something more sculptural and environmental in nature just to mix things up. I'd also recently moved to Europe for a stint and loved seeing all the old castles and wanted to do something with that. So I combined that with my affinity for isometric projections and started to play around and liked where it went. The game features a bunch of unique environments, such as a desert world and an island world, so for those, I drew on my travels around the world to influence the visual language, shapes and color palettes of each environment.
I'm actually doing something similar at the moment in a totally different style to scratch the same itch in mixing up what I do.
What are you currently reading, listening to or looking at to fuel your work?
I’ve been listening to a lot of podcasts recently. My favorites are probably The Adventure Zone, Judge John Hodgman, The Greatest Generation, and Lore. I also have a tendency to have old Star Trek shows playing in the background while I work.
What advice would you give to anyone wanting to work in the board game industry?
Stick to your artistic morals. It seems to be a growing and evolving world with a lot of room for fun and experimentation, so just have fun!
Do you have any current projects underway, or coming up that you’d like (or are able) to tell us about?
I’ve mostly been focusing on some personal projects and gallery work recently, so nothing concrete at this time, but hopefully something fun will come along!
Finally, if we’d like to see more of you and your work, where can we find you?
I’m on Instagram and Twitter under the handle @jessealso and I’m also on tumblr at jesseriggle.tumblr.com.
My main website is jesseriggle.com.
(All images are copyright of Jesse Riggle, 2018).
Andrew Bosley: Art in Board Games #26
Never stop learning and practicing! As my professors used to tell me, it’s the mileage that matters. There are plenty of people with pure, raw, exceptional talent, that have their path laid out for them. But the rest of us just need to work hard. For both art and game design..
Welcome to Issue 26 in my series sharing the stories behind board game art.
This week, I’m joined by Andrew Bosley, an illustrator, concept artist, and game designer who has worked on games such as the iconic Everdell. He’s also worked with companies such as Asmodee, Game Salute, and Ubisoft. I’m sure we’ll see more of his work in the years to come. Enjoy our conversation below!
Check out the interview archive for more great insights into board game art.
Hello Andrew, thanks for taking the time to speak to us. Firstly, could you tell us a little bit about yourself?
Sure! I grew up in Southern California with a passion for drawing. Had very supportive parents that helped me follow that passion. Took a pretty typical art journey that led to studying illustration at San Jose State University, with my aim to become a visual development artist in feature animation. I interned at Hallmark Cards the summer before my senior year, finished up my BFA in 2006, and then changed directions a little and took a job in video game concept art. I worked in-house at Ubisoft for seven years and then decided to go freelance in 2013. Now I live in cool, northern Arizona with my wife and five kids.
Now we know a little more about you, I have to ask, as a child what did you want to be when you grew up?
I always wanted to be an artist. For a long time, I thought that meant being a Disney animator. Then I decided I wanted to be a children’s book illustrator. I was only exposed to the type of work I ended up in after entering SJSU.
So how did you first get involved in making board games?
I have always loved board games! But it was never something on my radar when it came to work. It was just something I liked to do. After starting my first job as a concept artist in the video game industry, I looked for ways to scratch my illustration itch through freelance work. I got lots of RPG art commissions from the smaller companies. Then some of the bigger publishers took me on. By the time I went full-time freelance, I thought the only options for illustrators in tabletop games was in the RPG market. I went to a fantasy illustration convention looking for opportunities with the biggest publishers and failed miserably. But while there, I met an artist that would soon become a good friend named Bryan Fyffe and he pointed me away from the fantasy illustration rat race towards board games. It was the perfect fit for me and my style. I was fortunate to have established some good connections in the industry and board game jobs starting coming in. Also, when I moved to Arizona, I also started developing my own board game. That led me to GenCon, which led me to lots of new board game clients. While I still do a lot of video game concept art for work, I feel like board games will soon be my long-time home.
When you are working on the art of a board game can you give us a quick overview of your creative or thought process and has this changed at all since you first started?
When it comes to creating the actual illustrations, the process has evolved as I’ve changed as an artist. The process of making the art itself is probably pretty boring to normal people. But I have always had a love of art direction, graphic design, and brand identity and that is probably the thing that I enjoy the most when it comes to creating art for games. Helping to form the overall look of a game/product. When I work of others, I rarely get to look at the big picture in that way. But for my own brands, whether they’re games or apps or stories, I love the process of creating meaningful, iconic themes in style and storytelling.
You were involved in the creation of Mission: Red Planet, so could you tell us a little bit about what that involved and what were the biggest challenges you faced?
Yeah, I had the privilege of doing the cover art and all the character card art for the rebooted Mission: Red Planet. Mission: Red Planet is a great game with some history. Bruno Cathala and Bruno Faidutti created the original back in 2005 with a great artist named Christophe Madura. My job, ten years later, was to create a new look that had some of the influence of the previous version, but could hold up on it’s own and still represent the brand well. Asmodee was a publisher that I had worked with previously and they felt my style would be a good fit for their redesign. Though, I didn’t get to work with either designers during the process, I learned the game and tried to capture the themes and style of the game’s narrative. Then I got to have a lot of fun executing what I thought would make for a cool look!
What was the inspiration or core idea that drove your work on Mission: Red Planet?
It was pretty serendipitous that I was on an Edgar Rice Burroughs binge at the time. I listened to most of the Barsoom audiobooks during the illustrating process. It didn’t necessarily inform the art directly, but it helped me get in the right frame of mind. It wasn’t hard to think about Mars colonization in 1888 with some early 1900’s adventure stories playing in my ears.
What are you currently reading, listening to or looking at to fuel your work?
I really love to listen to audiobooks and podcasts while I work. I recently finished 1776 by David McCullough for the millionth time and I’m now starting the Lord of the Rings series for the millionth time. The podcasts on my regular list are Hardcore History, Trailblazers with Walter Isaacson, the Art of Manliness, and Ludology. Sometimes I throw in some bluegrass music, movie soundtracks, or Enya (that’s right!) when I’m in the mood.
What advice would you give to anyone wanting to work in the board game industry?
If it’s board game art, probably the same advice I’d give to any aspiring artist. Never stop learning and practicing! As my professors used to tell me, it’s the mileage that matters. There are plenty of people with pure, raw, exceptional talent, that have their path laid out for them. But the rest of us just need to work hard. For both art and game design, there are so many fantastic resources out there these days. Both are very generous communities. You just need to grab those resources, study, limit the pointless distractions in your life, and start making!
Do you have any current projects underway, or coming up that you’d like (or are able) to tell us about?
I just finished work on the upcoming game Everdell by Starling Games (Game Salute) which kindly showcased my work handsomely. It’s a great game centered around forest themes and woodland critters. When the publisher first pitched it to me, it reminded me of the Redwall book series I grew up reading and I fell in love. Starling Games was very trusting with the art and allowed me to run with it in fun directions. It’s turned out quite charming! On the personal side, my big project currently underway is a new game coming to Kickstarter this summer. It’s a card drafting, tableau building game set in a fantasy Golden Age of Aviation called Planecrafters. I created it with a good friend and we’ve been working on it for over 2 years now. It’s got a unique game style with a unique art style (that I had lots of fun designing) and it’s something I’m really proud of! Jump to our site www.paisleyboardgames.com for more info!
Finally, if we’d like to see more of you and your work, where can we find you?
My portfolio site is www.bosleyart.com, but you can also find me on Facebook, Twitter, and Instagram.
(All images provided by and copyright of Andrew Bosley).
Tania Walker: Art in Board Games #25
Achieving my life’s dream at 21 was eye-opening. Setting aside the 70-hour working weeks, what I found at Disney was that I didn’t enjoy being a cog in an enormous machine. Turned out what I really wanted was not to work with a specific company, but rather, the chance to shape my creative work in a meaningful way...
Welcome to Issue 25 in my series sharing the stories behind board game art.
This week I’m joined by Tania Walker, an art director, illustrator, and graphic designer who has worked on games such as Dracula’s Feast, The Lady & the Tiger, and Goblin Quest, and with companies/publishers such as Jellybean Games, Rule & Make, and Greater Than Games. Discover more about her work below.
For more great insights into board game art, head to the interview archive.
Hello Tania, thanks for taking the time to speak to us. Firstly, could you tell us a little bit about yourself?
Hi, thanks for having me! Aside from spending most of my time making adorable games, I write as a sideline and have been published in several speculative fiction magazines. I live in Tasmania where it’s nice and cold (fun fact: parts of Australia are, occasionally, snowy!) and, outside of my assorted creative work, my proudest accomplishment has been teaching my cat to walk on a leash. I love tabletop roleplaying games and it’s a bit of a life’s dream to work as the Art Director on a project along those lines - so if you’re reading and you’ve developed something like that... (makes the ‘call me’ gesture).
Now we know a little more about you, I have to ask, as a child what did you want to be when you grew up?
At first, I wanted to be a vet, like James Herriot. Then I realised this would require putting down a substantial number of animals, and I’m too much of a softie for that. Next, I got obsessed with Disney films and decided I wanted to be a Disney animator. That one, I never grew out of – by the time I was 21 I was working for Walt Disney Animation Australia.
So how did you first get involved in making board games?
Achieving my life’s dream at 21 was eye-opening. Setting aside the 70-hour working weeks, what I found at Disney was that I didn’t enjoy being a cog in an enormous machine. Turned out what I really wanted was not to work with a specific company, but rather, the chance to shape my creative work in a meaningful way. After that, I spent years bouncing from one kind of art job to the next, looking for the elusive role that would let me feel like I had creative freedom and trust within a team of like-minded people.
During that time I also started playing modern tabletop games. Killer Bunnies was first. I recall looking at the art and deciding: “I could do a better job of it. I’d love to do this someday.” Yet it didn’t occur to me to aim for a job making boardgames; I didn’t think that was something you could do in Australia, and I had already decided against moving overseas for my career, as I love where I live.
So I continued freelancing and periodically working for companies in a wide variety of art and design jobs. One day an old acquaintance from Brisbane approached me – I’m sorry, this is the most Australian employment story ever – he was a guy who’d once bought a fridge from me, and he’d decided on the basis of my DVD collection that we should be friends, and added me on Facebook. We’d loosely kept tabs on one another ever since. That guy was Peter C. Hayward. He told me he’d started a boardgame company – Jellybean Games – and as he admired my art, would I like to come on board as a freelancer to work on a game called ‘Dracula’s Feast’?
What I found at Jellybean was a team of like-minded people who shared my creative goals and sense of humour, and who valued my contributions. Jellybean quickly became my core client, and I’m extraordinarily proud of the games we’ve made together.
When you are working on the art of a board game can you give us a quick overview of your creative or thought process and has this changed at all since you first started?
My role has deepened – initially, I was just a freelance illustrator with Jellybean, but as an art director I get a more substantial opportunity to shape the look and feel of our games. What I love about this role is that I get to think about the art of our games both from a macro and micro point of view – I have to consider how all the elements will work together as a package, but also have to zoom my attention close in to every tiny illustration and icon and border and make sure that each of these works individually. For tabletop games, illustrations in particular need to stand up to repeated scrutiny, because they’re going to be looked at again and again, sometimes for extended periods of time. If an illustration is low quality or if some detail is wrong, people will notice, and it’ll bother them.
So, at the start of a new project the whole team develops a theme for the game. It must reinforce the game's mechanics, must be relatively original (or at least be an original take on an old theme), and to be honest it has to be a theme we can all get excited about – because if we’re not interested in it, the art won’t be interesting and the players won’t be interested either.
I then start to think about broad art decisions like what kind of style and colour palette communicates this theme best? Realistic? Stylised? Cartoony? Pastel watercolours? Dark and gritty digital painting? What feel does this choice create; what expectations will it set up about the nature of the game? There’s a whole world of choices and approaches out there. I also consider what else is currently in the marketplace, and how we can make this game stand out from that crowd. For this last reason, I avoid the straightforward ‘semi-realistic saturated digital painting’ style, because no matter how well it’s done, it’s so prevalent right now that any game using it will visually merge into every other game on the shelf. I also consider: what are my strengths as an artist, and am I the best artist to create the kind of art this game needs?
Once all this is nailed down to the team’s satisfaction, I begin to gather references and visual inspiration, and from there I create my first card for the game (or the box art, in games that aren’t as heavily card-based), and that becomes both my place to experiment with technique and, when it’s done, my touchstone for the game art that follows.
I also do a lot of the graphic design for Jellybean, and I tend to develop that in conjunction with the illustrations, which allows me to get a more visually cohesive approach going than you’ll often get when a designer comes along once the illustrations are done and just designs around/over them.
There’s so much more to it than this, but you did say “briefly”, and I think I’ve blown past “brief” some time ago. I’ll add that the above encompasses what’s changed for me since I started with Jellybean: I’ve gone from creating illustrations on spec, to developing the look and feel of a game before I begin illustrating.
You were involved in the creation of The Lady & The Tiger, so could you tell us a little bit about what that involved and what were the biggest challenges you faced?
The great thing about L&T is that Peter just happened to approach me with this game idea that ticked all my personal creative boxes. I’ve always drawn cats of all kinds, and I adore drawing women, and here was a game entirely built around women and (very large) cats. Furthermore, we quickly agreed that my ‘core’ style – clean, bright and Disney-influenced – would be ideal for this game, which removed the usual start-of-project period I spend figuring out how to pull off a brand new style.
I really do enjoy working in a variety of styles; the challenge is fun and it keeps me from getting bored. But it was so nice to go with the flow on this one. The clear dichotomies in the suits in this game – Lady/Tiger and Red/Blue – set limitations that fostered creativity, really. The limited colour palette, rather than constraining me, kept that side of the project fairly simple. Constraints foster creativity; never let anyone tell you otherwise. The scariest thing in the world is complete freedom and a blank sheet of paper.
Probably the biggest challenge in this project was that for every Lady in the game, there was a Tiger, and it was getting difficult to come up with new ideas for the tigers (there are eight in the game, and I wanted each of them to be distinct). With Ladies, you can work with distinct ages, body shapes, ethnicities, clothing, body decoration, hairstyles, etc. Tigers lack a lot of these differences, and while they really do have a lot of variety (after studying dozens of tiger photos, I can confirm this!), we’re not trained to notice it so much. So getting eight big stripey cats to look distinct from each other required a lot of jiggery-pokery. (That’s the technical term.)
What was the inspiration or core idea that drove your work on The Lady and the Tiger?
Peter’s interest in it was piqued by a combination of the famous story, The Lady and the Tiger, and the They Might Be Giants song based on the same. He popped that onto the game as a working theme, meaning to replace it later, but when I heard the premise I was so excited to work with it we ended up keeping it.
Part of my excitement comes from the flipside of The Tiger Problem – the Ladies! Women are woefully underrepresented both in the board game industry and within games themselves. Generally, I aim to depict gender parity in every game I illustrate, but this one allowed me the opportunity to draw just women from start to finish: young, old, all different shapes and sizes and ethnicities and attitudes. Honestly, I wish I’d been able to draw even more – I had so many ideas I didn’t get to use!
What are you currently reading, listening to or looking at to fuel your work?
I’m constantly buried in a speculative fiction novel or two – just finished a streak of reading recent Australian YA post-apocalyptic books, and topped that off with ‘Who Fears Death’ by Nnedi Okorafor, and I’m listening to the audiobook of Stephen King’s ‘Sleeping Beauties’ now. Sadly I can’t listen to books while I work; it’s too distracting. Even music with lyrics is sometimes a bit much, so when working I tend to find one of those Youtube “eight hours of study music” compilations to put on in the background.
I’m always looking at everything; I draw a lot of inspiration from the natural world where I live in Tasmania, and aside from that I encounter amazing artists and art daily on Twitter and Pinterest. I’ve also got my own big reference library of art technique books on illustration, character design, digital painting and so on, and I turn to that when I need to figure out how to do something specific I haven’t done before. Beyond that, there’s always Google.
What advice would you give to anyone wanting to work in the board game industry?
Get your skills up. Chances are companies will need you to do a little of everything, so if you’re precious about only ever working with one style or one subject matter you’re gonna have a hard time. Master working digitally, as that’s how games are made now. For goodness sake, if you’re drawing only anime, stop. If you’re only drawing women with big boobies, move on from that too, because the industry is moving on and you don’t want to be that one embarrassing dinosaur left behind.
Take on all kinds of freelance work anywhere you can; every job teaches you something. Find mentors (formal or informal) in the industry and ask advice. Formal schooling is not a must-have, but it doesn’t hurt! If you decide against formal schooling, make sure you’re incredibly self-driven and constantly learning – technical books on the craft of illustration are increasingly in-depth and easy to find, and the internet is a rich resource for tutorials (but be critical about what advice you take, and find what works for you). Approach your work with humility and the understanding that you can always grow.
Games art isn’t just about technical skills either. You’ll be working with (and for) others, so stow your ego. A game is a team effort. Your art will have a lot of fresh, critical eyes on it and they will notice things you don’t. Sometimes your piece will be technically great but simply doesn’t get across the message or feeling required for that part of the game, and you’ll need to take another run at it. The ability to listen to and apply constructive feedback will get you a long way. Nothing you make is so perfect it can’t be improved.
Oh, and be kind to people. Not just the people ‘above’ you in the industry, but everyone. It’s a small industry. People talk. Make sure you give them nice things to say.
Do you have any current projects underway, or coming up that you’d like (or are able) to tell us about?
I just finished up the design for Jellybean’s next release, ‘Show & Tile’. Imagine Pictionary but with tangram tiles, so you’re building artworks out of mostly triangles. It’s a big laugh both with kids and as a party game. Creating the art for it was fun; we went down an abstract colours-and-shapes route that’ll visually leap off the shelves. Nice change of pace!
Now I’ve switched over to working on Village Pillage, a card game of warring medieval villages, best described as “Game of Thrones if all the roles were played by Baldrick”. I’m going with a broad cartoony style for that, lots of super varied characters with extreme expressions. This puts me back into another part of my comfort zone so I’m having an absolute blast.
Finally, if we’d like to see more of you and your work, where can we find you?
I’m most active as @TaniaWalker on Twitter, where you’ll find a heady mix of art WIPs, daily life nonsense and inappropriate jokes. You could always keep an eye on my portfolio at www.taniawalker.com too, but know that I’m usually too busy making art to keep it properly updated, which is very naughty of me. Finally, keeping tabs on Jellybean Games at www.jellybean-games.com and on various social medias as @PlayJellybean is a great idea; they’re way better at promoting my art than I am! Be sure to visit our web store while you’re there. ;)
All images provided by Tania Walker
Pyramid Arcade - Eileen Tjan: Art in Board Games #24
The biggest challenge is that there’s no literal interpretation of the board game outside of the pieces. So, we had to concept an entire art style and brand around two pieces of information: there are many games you can play with pyramids, and the pieces themselves...
Welcome to Issue 24 in my series sharing the stories behind board game art.
This week I’m joined by Eileen Tjan, a Designer who has worked on games such as Pyramid Arcade, Zendo, and Fluxx. She also develops branding, collateral, and online marketing graphics with companies such as Looney Labs and Asmodee Digital. Enjoy our chat!
For more great insights into board game art, head to the interview archive.
Hello Eileen, thanks for taking the time to speak to us. Firstly, could you tell us a little bit about yourself?
I’m a designer and art director from Chicago IL but I’m splitting my time between working in Chicago and Detroit on a magazine called Grand Circus Magazine, an arts and culture publication! In Chicago, I run a design practice called OTHER Studio. We’re a multi-disclipinary studio but I think we’re most known for branding. In the past, I’ve worked on award-winning projects; across many industries and tasks: advertising, production, traditional branding, print and digital. But right now, I’m really enjoying the work I’m doing with my clients at OTHER and spending free time teaching a little, lecturing, hosting community events, and developing the magazine with my partner Alex Trajkovski.
Now we know a little more about you, I have to ask, as a child what did you want to be when you grew up?
My elementary school yearbook said I wanted to be an ACCOUNTANT! Totally different path haha. Other kids wanted to be astronauts, cowboys, or vets but young Eileen dreamed of being an accountant!
So how did you first get involved in making board games?
I was leaving my full time job to pursue freelance design and the Looneys were my first freelance client. At first, they just wanted some assistance designing a newsletter template and it ended up in a relationship to assist with their branding! When we went through the branding process and started to develop a good design relationship, they approached me with the Pyramid Arcade project, a compilation of their most popular Pyramid games.
When you are working on the art of a board game can you give us a quick overview of your creative or thought process and has this changed at all since you first started?
I think with a lot of game art boxes, there’s a very specific story or theme that can inform the game art. You can say oh this game is about space or animals, and immediately you have some visual information. Pyramid Arcade is a special case because it’s actually the compilation of 22 games each with different back stories, and the game pieces and boards themselves are not always literal so we had to be very conceptual with the art.
When we were tackling Pyramid Arcade the studio had recently brought on a young designer, Abe Zieleniec and he worked on this massive project with me. We start all project processes the same, we create mood boards to represent all the different conceptual directions we could explore. From there we dive into first round designs based on selected mood boards.
Before the Looneys landed on Pyramid Arcade, the set was called “Pyramid Throwdown” which is what you see in our preliminary art. We looked at logotype, general art elements, and tried to best assemble those pieces together. The box art front was the easiest place to start visualizing the look/feel of the game. I think we presented 3 options, 2 of mine and 1 from Abe. We ended up working out and producing the entire game based on the original pitched artwork. It’s pretty similar to what you see out now!
You were involved in the creation of Pyramid Arcade, so could you tell us a little bit about what that involved and what were the biggest challenges you faced?
I sort of touched on this in the last question, but the biggest challenge is that there’s no literal interpretation of the game outside of the pieces. So, we had to concept an entire art style and brand around two pieces of information: there are many games you can play with pyramids, and the pieces themselves. It had to be flexible to accommodate the many ways the game manifests! We chose a very flat, graphic, illustration style that was as playful as the pieces themselves. Then to represent each game, we made mini logos and patches for each game using geometry to drive the logic of those illustrations. The main artwork also tried to encompass the idea of many layers of games. You can see in the tunnel-like arch there are different environments and games represented. What we ended up with was a very colorful and diverse style of artwork for the game!
What was the inspiration or core idea that drove your work on Pyramid Arcade?
The core idea for this art style was inspired by the game itself. The pyramids are minimal, graphic game pieces so the style of pieces informed the style of the art. I like the fact that there can be an ever-changing number of games to play! People can make their own games and worlds. So we wanted to create art that felt fun and inviting but was also systematic so it could grow with the game. I’m pretty happy because it feels like something different when it sits on game shelves.
What are you currently reading, listening to or looking at to fuel your work?
I have a big compilation illustration book that I picked up from Kinokuniya and I am in love with all the work. I’m trying to study the way these artists are portraying fabrics, materials, and textures. I love anime so I’m bias, but also I’m just in love the range of work in this curation!
What advice would you give to anyone wanting to work in the board game industry?
PLAY A LOT OF GAMES AND HAVE FUN!
Do you have any current projects underway, or coming up that you’d like (or are able) to tell us about?
We’re working on some animations and an anthology issue of the magazine I mentioned before. We’ve got a few branding projects too. So there’s quite a variety in-house right now. I would LOVE to work on designing for more games; it’s so fun and really exercises my mind on what it means to “brand” and “design”. If you hear of anyone looking to work with a designer, let me know! ;)
Finally, if we’d like to see more of you and your work, where can we find you?
You can find me on other-studio.com and eileentjan.com.
My Instagram accounts are instagram.com/_otherstudio and instagram.com/eileentjan which I update way more often. :)
(All artwork supplied by Eileen Tjan, 2017)
STEM: Epic Heroes - George Doutsiopoulos: Art in Board Games #23
The timing was perfect and so was the theme of the board game. Some of my favorite things in the world are science, character illustration and board games, and STEM perfectly combined all three. What is more, I absolutely love vintage themes...
Welcome to Issue 23 in my series sharing the stories behind board game art.
This week I’m joined by George Doutsiopoulos, an artist who has recently worked on board game STEM: Epic Heroes and with publishers such as Hologrin and Desyllas Games. Seeing his work bringing scientists to life in STEM: Epic Heroes made me curious to know more about his process. Enjoy our chat below!
For more great insights into board game art, head to the interview archive.
Hello George, thanks for taking the time to speak to us. Firstly, could you tell us a little bit about yourself?
Hi Ross! You are very welcome and thank you for the kind invitation. I am a full-time freelance illustrator living in Thessaloniki, Greece. I work with publishing houses and companies, painting for storybooks, book covers, games, and advertising.
Now we know a little more about you, I have to ask, as a child what did you want to be when you grew up?
An artist! There were, of course, the occasional dreams about becoming an astronaut, an archaeologist or an astrophysicist, but I have been passionate about sketching and drawing ever since I could hold a pencil.
So how did you first get involved in making board games?
Well, to begin with, I absolutely love board games! Things like the fun memories of being a kid playing Hero Quest have stayed with me and inspire me both as an adult gamer and as an artist. Looking back, it is very clear to me that I have always wanted to be a board game illustrator, although I took it more seriously rather recently. A couple of years ago I did a few boxtop illustrations for Desyllas Games, a big board game company in Greece. I remember thinking “hey, I really like doing this”! The next step was to enrich my portfolio with some personal work that I felt would attract the kind of board game jobs I would prefer the most.
When you are working on the art of a board game can you give us a quick overview of your creative or thought process and has this changed at all since you first started?
It’s really not very different from the process of creating any other illustration project. The first thing is to make sure I have a very detailed and thorough brief. The preferred art style, palettes, target group, theme, dimensions, etc. are things I need to know beforehand. When I have everything I need I just stare at the brief for a few minutes (or tens of minutes!) and try to visualize the finished game – what it looks like, what playing it feels like, how my friends and I would react to it and what kind of art would make it as fun and memorable as possible. The next step is research and finding a reference from online sources. I love doing research for the visual elements of my illustrations (faces, clothing, buildings, etc) because it also serves as a form of brainstorming, although it can become time-consuming. The rest is pretty straightforward. I draw my sketches as close to what I envisioned as possible and try to figure out the final palette. When all is approved I move on to the finished artwork.
You were involved in the creation of STEM: Epic Heroes so could you tell us a little bit about what that involved and what were the biggest challenges you faced?
STEM is a card game that centers around prominent figures from the realm of Science, Technology, Engineering and Math, and their inventions/discoveries. My job was to paint character cards. In order to create rich and accurate illustrations, I needed to do extensive research for every character and find a reference for their face, body type, clothing, inventions and so on. A good facial likeness was important to me but sometimes finding appropriate reference was difficult, especially if the character lived before the 20th century. Another important challenge was keeping balances. I needed to find a good equilibrium between realism and cartoonism, historicity and superheroism, seriousness and colorfulness, all while making sure that the likeness of the characters and emotional impact of the cards were as good as possible.
What was the inspiration or core idea that drove your work on STEM: Epic Heroes?
First of all, STEM was an absolute godsend. It came at a time when I had become very tired of working mostly on children’s books and had been longing to work on something more realistic and adult. The timing was perfect and so was the theme of the game. Some of my favorite things in the world are science, character illustration and board games, and STEM perfectly combined all three. What is more, I absolutely love vintage themes. Aaron Hanna, a great art director and person to work with, noticed this and assigned to me characters mostly from the late 19th and early 20th century. So, this perfect mix of science and progress, character illustration, past eras, and gaming was more than I could wish for inspiration!
What are you currently reading, listening to or looking at to fuel your work?
Oh, all kinds of things. I’m halfway through “The Shortest History of Europe” by John Hirst, finishing Jeff Smith’s “RASL” and about to begin Phillip Pullman’s “The Book of Dust”. Which are very indicative of my favorite genres: history and science, graphic novels and fantasy literature.
What advice would you give to anyone wanting to work in the board game industry?
First of all, I’d say make sure that you love (or at least, like) board games. Liking the object of your work makes things so much easier and more pleasant. Also, take the time to play lots of different board games, whenever possible. It’s the best way to become familiar with great board game artwork, different game mechanics and get lots of inspiration (and fun)!
Secondly – and very importantly, make sure that you’ve put some thought into what kind of games your artistic style would look better in. As soon as you have the answer, hone your skills and build a portfolio with appropriate art.
Do you have any current projects underway, or coming up that you’d like (or are able) to tell us about?
I’m always working on books, but I’ve also begun working on a very fascinating board game for Restoration Games! I am not sure I can share details at this point but please stay tuned!
Finally, if we’d like to see more of you and your work, where can we find you?
My primary gallery is in Behance but I also hang around in Artstation and Facebook.
(All images provided by George Doutsiopoulos, 2017).
Todd Sanders: Art in Board Games #22
In taking apart another designer’s work and re-visioning it, you learn the inner workings of the mechanics and how the game is put together, thereby learning something about the design process. I suppose the best thing I have learned is to be open with my work [..]
Welcome to Issue 22 in my series sharing the stories behind board game art.
This week I’m joined by Todd Sanders, an artist and designer who has designed games such as IUNU, They Who Were 8, and Aether Captains with companies such as LudiCreations and MAGE Company.
He’s created a variety of Print and Play (PnP) games, and it was a combination of this work, plus the marvelous Mr. Cabbagehead’s Garden, that caught my eye. Enjoy our chat!
For more great insights into board game art, head to the interview archive.
Mr. Cabbagehead’s Garden - Photography by Ross Connell
Hello Todd, thanks for taking the time to speak to us. Firstly, could you tell us a little bit about yourself?
I live in Pittsburgh where I work as a graphic designer, furniture maker and publisher. I have a degree in architecture but have worked as a graphic designer for over 25 years. My publishing company, Air and Nothingness Press (which is also the name I design games under - www.aanpress.com) publishes translations of French surrealist poetry, science fiction, and fantasy, and makes handmade artist books.
Now we know a little more about you, I have to ask, as a child what did you want to be when you grew up?
From an early age I always wanted to be an architect. I was an architectural designer for a few years upon graduation but then moved into graphic design due to the work availability in Pittsburgh in the mid-1990s.
So how did you first get involved in making board games?
I began by redesigning older games and I’m most known for my re-visions of Barbarian Prince (over 3000 downloads on BoardGameGeek.com) and for Hammer of Thor. Both of these were originally released in the early 1980s, long before computers or better printing techniques and there is a mystique about them, but both are long out of print and therefore inaccessible to most players.
Barbarian Prince is one a lot of people wish would be reprinted. You play a barbarian trying to find gold to save your kingdom, wandering a map of various terrain types, rolling dice to find events and encounters on various tables. It combines aspects of wargames, RPGs, and Choose-Your-Own Adventure style games. I completely redesigned the entire map, created new rule and events books and a series of player sheets and counters to give the game a better scope. It took me a couple of months to complete but I think the changes make it feel more like a modern game.
Hammer of Thor is a very strange game from around ‘83 that can apparently support between 1 and 65 players, although 1 or 2 players is probably best. You play Viking gods and visit locations throughout the nine realms encountering various types of creatures and humans. You combat these beings and in turn, can make them part of your clan. The game mainly uses cards (which were originally badly printed on construction paper) and a large map of Yggdrasil, the world tree of Viking myth. My work included redesigning (and correcting the errors of) over 720 cards, designing 1100 counters and I updated/redrew the map. On top of this, I completely rewrote the rulebook to remove a huge number of errors in the original text and updated the language for modern board gamers. It was over 6 months work and I really didn’t design anything for many months afterward because the task left me exhausted.
For both games what appealed to me was the challenge of taking older games and giving them a fresh modern look. As a graphic designer, I am attracted to projects where a design overhaul can give a value and prominence to games in our history that are overlooked by many. For Barbarian Prince I also wanted a copy to play and this was a fun way for me to make that happen.
From there I entered several of the designer contests that the Print and Play community sponsors and slowly began learning to process of design games. There are several of these contests every year on BGG. The Solitaire PnP contest (every summer), the PnP Wargame contest, the 18 card contest, and the Mint Tin contest where all components must fit inside of an Altoids tin. In the past there have also been game contests with constraints like only using dice, fitting the game on a single sheet of paper, or only being able to use 9 cards.
Mr. Cabbagehead’s Garden - Photography by Ross Connell
When you are working on the art of a board game can you give us a quick overview of your creative or thought process and has this changed at all since you first started?
I tend to work on both the structure and mechanics of the game while doing the artwork. It’s a very organic process and both elements grow together. I am not an ‘artist’ artist, meaning I don’t really draw or illustrate anything by hand ever, I do all my work on the computer using InDesign and Photoshop, often using those applications as you would Adobe Illustrator (but I don’t own a copy of that).
Early on I tended to do redesigns of earlier games. In taking apart another designer’s work and re-visioning it, you learn the inner workings of the mechanics and how the game is put together, thereby learning something about the design process. I suppose the best thing I have learned is to be open with my work and let people interact with it as it is being designed. Everyone has different experiences and knowledge. Their input can only make a game stronger, especially since one tends to design in a bubble so you can quickly convince yourself that something works. This is because in your head it does, but you often find that once you write rules other people find holes in this logic as you didn’t impart that understanding within the framework of the game itself.
You were involved in the creation of IUNU, so could you tell us a little bit about what that involved and what were the biggest challenges you faced?
IUNU, which made its debut at Essen 2017 is a game where the basic idea came very quickly: 9 types of cards where the point value of the card is the direct inverse of the number of cards in the deck. The game spent about a year of development with LudiCreations and I’m lucky in that I am the graphic design/artist for my own games with LC. Part of the appeal of these games is my minimalist artwork. LudiCreations staff and I work pretty well together after several years of my doing graphic design for other games in their catalog.
There were no real challenges but we ended up increasing the number of Afterlife cards and this meant doing a lot of research into Egyptian dynasties (which I found quite interesting) and then matching historical points in that timeline with bonus actions for the game. For example, one card gives bonus sets of bakers, merchants, and farmers in your tableaux. These are all lower ranking citizens and the dynasty of Amenhotep was one in which the people had more power and there was a golden age. Another example is that the bonus cards Peret, Akhet, and Shemu are seasons in ancient Egypt which cycle around the rise and fall of the Nile river, celebrating abundance and harvest times. This idea matched cards where you gain a bonus if you have a majority of one type of citizen at the game’s end. I like to, as much as I can, match real facts/events with the mechanics in my games to strengthen the game narrative and thematic elements
What was the inspiration or core idea that drove your work on IUNU?
Often I find this is the case with my designs – the best and most elegant games come fully formed in under a half hour. As previously mentioned, I conceived of an idea where the kind of cards and their frequency in the deck had an inverse relationship to their value. So one Pharaoh is worth 9 points, 2 Scribes are each worth 8 points, three Nobles are each worth 7 points and so on down to nine Farmers each being worth 1 point.
The Egyptian theme for the game was suggested by this idea of 9 which is three 3s or the three main pyramids at Giza in Egypt. This tied nicely into three 4-sided dice, a great visual link to Ancient Egypt thematically. A quick bit of research led me to 9 types of citizens and their hierarchical order, and from there I was off and running. Each of these types of citizens then meant I could have a separate action for each, thematically tied into their caste when the cards are played in sets.
Also, the money in the game is labeled as ‘debts’. The ancient Egyptians didn’t have coins, instead, they used slugs of copper of various sizes as their monetary unit, equaling the weights to the worth of goods or services. So it wouldn’t have made sense to use coins as we know them. In my original PnP version, I sourced out small wooden ingots in a muddy brown and orange because the copper that was more refined was worth more and so the color difference suggests this.
What are you currently reading, listening to or looking at to fuel your work?
I listen mostly to ambient electronica. I find the rhythm of the beat helps my design process. Currently I am reading Virconium by M. John Harrison that my friend, the author Steph Swainston, sent me a copy of. I read 2-3 books a week and this is a wide-ranging mix of fantasy, science fiction, books about landscape and nature, fairy tales and books on interesting ideas floating around in the world. All of this input does suggest game ideas to me as it all mixes together in the background.
What advice would you give to anyone wanting to work in the board game industry?
Read all the rulebooks you can get your hands on. Understand not only how a designer creates a game but also how the rules explain those ideas. Learn both from the success and mistakes in these texts. Finally, never feel afraid to share your work. No one is going to steal it. Share and receive back tenfold.
Do you have any current projects underway, or coming up that you’d like (or are able) to tell us about?
I am currently working with Alban Viard and his AVGS imprint to bring my PnP game – Pulp Detective- to print. I am currently converting the artwork over to print-ready status while creating a 2 player variant and going back and forth, day to day, with Alban, as his team does playtests, to adjust and strengthen the game mechanics. This game has been under PnP development for over 2 years (one of my longest n the drawing board) and I am very happy to finally get it to the stage where it will be ready for players.
Finally, if we’d like to see more of you and your work, where can we find you?
I maintain a very large and rambling current projects thread on BGG. I also actively post on my blog. You can find some of my illustration work at http://locusgraphic.com/illustration and finally, I am on twitter at @lackriver.
(All images provided by Todd Sanders 2017).
Dawn of Peacemakers - Sami Laakso: Art in Board Games #21
As I do both the illustrations and graphic design for my board games, I usually start with a crude layout for my prototype. While the first prototypes can be rough around the edges, I try to make them as user-friendly and clean as possible..
Welcome to Issue 21 in my series sharing the stories behind board game art.
I’m always impressed by creatives who can wear many different hats. This week I’m joined by Sami Laakso, an artist, designer and publisher, who has worked on games such as Dale of Merchants 1 and 2, Days of Ire: Budapest 1956, Crisis, and Petrichor, and with companies such as Snowdale Design (which he owns), Mighty Boards, and LudiCreations.
For more great insights into board game art, head to the interview archive.
Hello Sami, thanks for taking the time to speak to us. Firstly, could you tell us a little bit about yourself?
Absolutely! I’m the owner of Snowdale Design, my board game company. I focus on creating and publishing my own games in hopes of bringing happiness to people all over the world. And I have a cat named Eddie. He’s awesome.
Now we know a little more about you, I have to ask, as a child what did you want to be when you grew up?
This is a tricky question. I didn’t have a single specific job that I dreamt off as a kid. As weird as it sounds, my goal for the longest time was to simply one day have a job in which I genuinely enjoy spending my time. It might be an unusual answer but I figured that if I have to work for roughly half of my waking time, why shouldn’t I aim to spend that time doing something I love?
So how did you first get involved in making board games?
I love playing board games with my friends and family as I would guess most of the readers do too. A few years ago I got a desire to create a game myself that I could enjoy with my close ones. It wasn’t meant to be a product to sell to a publisher or anything like that. Only after I had created this game (later known as Dale of Merchants) and could see how much everyone enjoyed it did I think about actually publishing it. One thing leads to another and now I work full time in my own board game company.
When you are working on the art of a board game can you give us a quick overview of your creative or thought process and has this changed at all since you first started?
This has changed a lot and will certainly keep evolving as I continue to pursue honing my craft. As I do both the illustrations and graphic design for my games, I usually start with a crude layout for my prototype. While the first prototypes can be rough around the edges, I try to make them as user-friendly and clean as possible. Clarity is key at this stage. I jump into illustrating the art and details only after I’m satisfied with the layout and game design. Then I look for a lot of reference images, which is usually photos of animals as my games don’t have humans in them. I try to keep all the animals as close to their real-life counterparts as possible whilst giving them personality and character. This often means that I take a bit of artistic freedom when drawing their facial expressions.
You created Dawn of Peacemakers, so could you tell us a little bit about what that involved and what were the biggest challenges you faced?
Dawn of Peacemakers was and still is a huge project. It wasn’t supposed to be as enormous as it eventually became. At first, I only wanted to make a game against war. Then I wanted to add scenarios to it. I figured scenarios would be even better if they were linked to each other. Then thought there should definitely be a story behind these events. Why not teach the game during the scenarios and have twists and turns during the campaign? Whoa, that got out of hand fast.
One of the biggest challenges was the plain act of dividing such a huge game into manageable chunks, tasks that can actually be achieved in days or better, hours. Bit by bit, I ticked to-do items and got the game ready. Or as close to ready as it needs to be for the launch of a crowdfunding project.
What was the inspiration or core idea that drove your work on Dawn of Peacemakers?
I wanted to create something unique, a game that there isn’t anything else quite like yet. The idea I settled on was a war game where the players' mission was to end the war in peace, instead of crushing the opposing side. It wouldn’t make sense for players to directly control the bloodthirsty warring sides, not if they actually wanted to end the conflict so this choice lead to unique mechanisms as well.
What are you currently reading, listening to or looking at to fuel your work?
There isn’t any single one piece of work that I can name for that. I consume books, movies, podcasts etc, that I enjoy. Then parts of them influence my work, wanted or not. Still, to name at least one name, I adore Hayao Miyazaki’s movies. They don’t hammer their ideas and motives down your throat but are way more delicate with their approach. They make you think.
What advice would you give to anyone wanting to work in the board game industry?
Get involved! Being it drawing, designing, proofreading, volunteering at conventions, anything. Gathering experience and making contacts is generally the best thing you can do regarding any passion you might have. It doesn’t matter what your specific goal is. If you want to work in any industry you should start with small steps, and work your way through. Sooner or later an opportunity will appear. You have to be willing to do the legwork.
Do you have any current projects underway, or coming up that you’d like (or are able) to tell us about?
Obviously Dawn of Peacemakers! But seriously, it has consumed my time for so long I haven’t been able to work much on anything else. That being said, I have managed to design parts of the next Dale of Merchants game a bit here and there. Rumour has it, that will come in a bigger collector friendly box and with never seen before goodies.
Finally, if we’d like to see more of you and your work, where can we find you?
By far the best way to stay up to date with my stuff is to subscribe to my email newsletter. Occasionally I’ll also post some sneak previews and other nonsense on Twitter. Finally, if you have any questions about any specific game of mine then a message on BoardGameGeek is the best place to ask those.
Dawn of the Peacemakers is available on Kickstarter until Sat, December 2nd, 2017.
(All images supplied by Sami Laakso, 2017)
Side Effects - Jade Shames and Ben Bronstein: Art in Board Games #20
I’ve had a lot of tragic experiences with mental illness, and I have a very dark sense of humor. Knowing that many of the drugs we’re prescribed to make us well also cause us to become sick in other ways, I started to develop a game where you were racing other players to treat a series of diseases...
Welcome to Issue 20 in my series sharing the stories behind board game art.
One of the joys of covering games in this industry is how many new people create games each year. This injection of creativity and fresh ideas keeps board games feeling new, and I’m always excited to talk to the next wave of artists. This week, I’m joined by Jade Shames and Ben Bronstein, game creators who are launching their first game, Side Effects.
For more great insights into board game art, head to the interview archive.
Hello, Jade and Ben, thanks for taking the time to speak to us. Firstly, could you tell us a little bit about yourself?
Jade: Sure. I’m 31, and I live in Brooklyn. Oh, also, I came up with the concept and most of the game mechanics for Side Effects, a mental-illness-themed card game. In my day job, I work as a copywriter. And I also write and play music.
Ben: I’m the illustrator and designer for our company pillbox games. Outside of that, I work as an illustrator, retoucher and production artist in advertising. I also like to cook and bake.
Now we know a little more about you, I have to ask, as a child what did you want to be when you grew up?
Jade: Superman.
Ben: Spiderman
So how did you first get involved in making board games?
Jade: As far back as I can remember, I’ve been making games. I used to find old boardgames in the trash and glue paper over them just so I could use the boards to make my own games. I remember working really hard on a game called Diamonds which had something to do with poker cards and a board, and I remember that I was obsessed with the idea that the whole board flips upside down during a portion of the game. I think I saw a commercial for a game that did this, and I thought it was the coolest thing in the universe. Sadly, I can't find any game that exists today with this feature. If you find one let me know.
Ben: I’ve always been a fan of a lot of game genres. Especially more artistic/experimental games like anything by Fumito Ueda, TiNYTOUCHTALES, Monument Valley plus the board game Secret Hitler and wanted to work on one, but this is my first proper project. Jade showed me and a few friends a test play deck he had made and I told him I’d love to do the art for it.
When you are working on the art of a board game can you give us a quick overview of your creative or thought process and has this changed at all since you first started?
Jade: I was never a designer. Working with Ben Bronstein has been a real treat because he IS a real designer and his illustrations make the game. He approached me, asking if he could help design the cards, and when I looked through his portfolio I thought I had won the lottery. It was a perfect match.
Ben: The creative process started with some research on historical game design and also pharmaceutical packaging from the late 19th, early 20th century. During this research, I made some exploratory sketches, mostly comped together digitally. After I was happy with some of my designs we reviewed all the images as a group, made proofs and then playtested them, gradually refining the designs.
As the game started to mature, I weaned myself off looking at reference points, more focusing on refining the existing designs we had in a direction that revealed itself through play and testing. It was a really interesting process because I had to focus on keeping a consistent style through all the cards, all the while making sure the game was as clear and playable as possible
You were involved in the creation of Side Effects, so could you tell us a little bit about what that involved and what were the biggest challenges you faced?
Jade: The biggest challenges were balancing the feedback we were getting with what we wanted the game to look and feel like. You can’t just ignore feedback, but it’s how you choose to solve the problems it presents that makes a successful project. For instance, I would often get suggestions for new cards. But to add new cards meant sacrificing the simplicity of the game mechanics, and they would add to the time it took to explain the rules. I knew from the get-go that the rules should be super easy to learn. On the other hand, I got feedback that said some of the copy was difficult to read—that’s an adjustment that made the game easier to play and didn’t sacrifice our overall vision. So, sometimes you have to say, “Ok, we’ll use this feedback to make changes.” And sometimes you have to say, “No, we have to preserve our original intention.” Knowing when to use which is tricky.
Ben: I completely agree with Jade here. We wanted to keep the game fairly casual which means refining the rules down to a certain level of simplicity which was not easy. If we did everything someone else suggested it would have been a mess. While making the art of the game, the biggest challenge we ended up having to let go of was making the cards be ambigrams. We thought it’d be great if the cards read both for the active player and the opponent. Though an interesting idea, in execution it became very limiting as the skeletons and words would always need to be symmetrical. What was preserved from that exercise is the text message on both sides of the cards and the design still being far more symmetrical than most games. The other interesting challenge was making the game functional for colorblind players. We played with a friend that was colorblind and that’s what inspired the symbols for each disease.
What was the inspiration or core idea that drove your work on Side Effects?
Jade: I’ve had a lot of tragic experiences with mental illness, and I have a very dark sense of humor. Knowing that many of the drugs we’re prescribed to make us well also cause us to become sick in other ways, I started to develop a game where you were racing other players to treat a series of diseases. I think my decision to focus on mental illness was birthed from my frustration that people don’t like to talk—or even address—mental illness. So, I guess you can say it’s part satire, but mostly I wanted to make a fun game that looked cool and could be played at a bar.
Ben: For the art, we looked at a lot of apothecary/booze labels, art deco and nouveau poster design, and tarot cards. Initially, I made some variations of the two most common types of cards of the game, diseases, and medications, and eventually refined those into two hero designs that all the later cards matched. The art was mostly built in photoshop and some illustrator, and then very importantly we printed and playtested the cards numerous times (even rounding corners by hand) until we arrived on the design that we have now.
What are you currently reading, listening to, or looking at to fuel your work?
Jade: Hmm, that’s a difficult question. For Side Effects specifically? Maybe Miss Lonelyhearts, Tom Waits, Art Nouveau, old medicine and liquor bottles, medical textbooks. The game mechanics of Mille Bornes definitely inspired part of the mechanics of Side Effects.
Ben: Comics artists are a big influence for my artwork, Adrian Tomine, Chris Ware, David B, Winsor McCay are a few I looked at in the context of the game, along with the earlier mentioned inspiration. Also, I’ve recently discovered and been super inspired by Tinytouchtales iOS card games.
What advice would you give to anyone wanting to work in the board game industry?
Jade: Make the game you’d want to play.
Ben: Don’t worry about or try to compete with what other people are making.
Do you have any current projects underway, or coming up that you’d like (or are able) to tell us about?
Jade: You can check out a short story I wrote for the X-Files expanded universe. It features me, as a character, having a bad weed experience with Mulder and Scully. The story is called Give Up the Ghost and you can read it in X-Files: Secret Agendas. My album, CONDUCTOR, is available online. I’m working on a short, animated film based my short story The Backward Astronomer, which appears in the 2013 Fall/Winter issue of HOW art and literary journal. And, of course, I’m really excited to debut the Side Effects expansion packs, which should be coming out sometime next year. But it really depends on if we can get the funding we need during our Kickstarter.
Ben: I’m always working on freelance illustration projects and sketchbook-ing, links for those things are below, and like Jade, I’m very excited to be working on future games.
Finally, if we’d like to see more of you and your work, where can we find you?
Side Effects and related game projects: Pillboxgames.com & twitter.com/pillboxgames
For Jade’s other work: Jadeshames.com & twitter.com/jadeshames
For Ben’s work: Benbronstein.com & instagram.com/benbron
And if you’re not into the whole internet thing, we all live in Brooklyn, NY.
Side Effects is available on Kickstarter until Thursday, December 7th, 2017 via this link.
(All images and illustrations supplied by Pillbox Games 2017)
Chris Quilliams: Art in Board Games #19
“I had the opportunity to work on the Pandemic Legacy board game with my Z-Man team. Everybody knew it was going to be special, which really added to the excitement. So, because of that, there was a bit of extra pressure..”
Welcome to Issue 19 in my series sharing the stories behind board game art.
This week we have Chris Quilliams, an artist who has worked on games such as Pandemic, Pandemic Legacy, Carcassonne, Merchants and Marauders, Flick ‘Em Up! and Azul with companies such as Z-Man Games and Plan B Games. Azul is one of the most played games in my collection, so I couldn’t resist the opportunity to chat with Chris about his work. Enjoy!
For more great insights into board game art, head to the interview archive.
Hello Chris, thanks for taking the time to speak to us. Firstly, could you tell us a little bit about yourself?
Sure no problem, starting at the beginning, I was born in Saskatoon, Saskatchewan, Canada. My family moved to Winnipeg, Manitoba when I was about 3 years old and that’s the city that I really grew up in. Ever since I can remember I’ve always loved drawing, from what I’ve been told starting at about a year and a half. My grandmother and father were both very big influences and both of them were artists, so I had constant inspiration around me. Through school I was always the class artist and after high school I went through the fine arts program at the University of Manitoba wanting to become a comic book artist. In the last couple of years of University I focused heavily on sequential art, especially in my thesis year.
One of my biggest influences was a friend I met at a local comic book convention, Doug Wheatley. In the early days before we were employed as artists we would hang out and just try to develop and hone our skills. It’s funny how in those days we would look to the future at our possible careers and of course now I look back at those days with such fond memories... now that we both have our careers. Haha!
My first big break I guess came from Beckett, a trading card company, I did some stints illustrating sports comics with Mickey Mantle and Cal Ripken Jr. but it wasn’t full time work. That would come later when I started illustrating for Games Workshop working on their Black Library line. Doug has since gone on to become a well know artist working many years on the Star Wars comics among many other things.
Recently I’ve held an office job for Z-Man games as a staff illustrator, so I’ve been living in Quebec (where the company is located) for the last five years. I’m married to my lovely wife Annie, we have two dogs and now I work in Rigaud Quebec at Plan B games, a fairly new company to the game industry. We have some amazing games coming in the production line developed by our incredibly experienced, talented staff.
Now we know a little more about you, I have to ask, as a child what did you want to be when you grew up?
I’ve always wanted to be some kind of artist, I can’t remember a time when I wasn’t driven in that direction, it was just a given. I think anyone in my family would say there was never any doubt. Ever since I can remember I obsessively wanted to draw. There was even talk of holding me back a grade in my kindergarten class because I didn’t care about anything besides drawing and painting. I didn’t want to learn anything else. Of course there are times when I don’t feel like drawing but it’s rare.
So how did you first get involved in making board games?
I first got involved in the game industry through Zev Schlasinger. At the time he was the owner of Z-Man Games in the U.S. I had illustrated many Conan RPG covers for Mongoose Publishing over a few years and I guess they had made a deal with Zev to use that art for the Conan card game he was creating. After he produced this game he contacted me to work on some of his other productions. I started with another card game called Shadowfist and this game was the reason that Zev started his company. After that it didn’t take long to develop a client base in the tabletop industry, especially after I worked on Merchants & Marauders which won the Board Game Geek art award in 2011. I found this gave a real lift to my career and it became much easier to have a steady workflow.
When you are working on the art of a board game can you give us a quick overview of your creative or thought process and has this changed at all since you first started?
Well, at the beginning of my career I was illustrating comics for a short while as I mentioned before. I’d get a script, create thumbnails planning the frames per page for composition and storytelling, and then render tight pencil drawings from the thumbnails. Other people would ink and color the work though, and I found the art would evolve into something that I didn’t recognize anymore. When I started on the Daemonifuge storylines for Games Workshop I was able illustrate the work to full completion, having the confidence to ink the pages as well as use ink washes for tone. I’ve never been a great inker but I found this completely satisfying. This process is quite different than what I go through now though.
When I began game illustration I started with rpg covers and interior art, and this creative process is much more similar to what I do now. I was paid a lot more for the covers and as such I could spend more time developing a refined image. I would not only do several thumbnails, but also color guides and sometimes even character designs, as well as research and gather references. I really believe in the process. For the interiors I would just go straight to the drawing, get approval and then start inking. The goal was to keep the time limit down because I was paid a lot less for these. Then, when I switched to game illustration I would create multiple thumbnails and color guides, again a very similar process to my rpg work. All this pre-visualization work could easily be edited without affecting the final draft.
I developed a nice working relationship with Sophie Gravel the then owner of Filosofia. They had just purchased Z-man games from Zev and she had really liked my Merchants & Marauders illustrations, eventually offering me a full time position to work for her company. I accepted and within two months moved to Quebec, Canada to work in the Z-Man games office and I had to adapt once again. Here I was working closely with a team of people (keep in mind I worked in isolation for 13 years) and had much more interaction, which I really wasn’t used to. This included playing the games, but also a lot more constant changes to the artwork. This meant the art evolved quite differently. Another thing I had to get used to was a 7 or 8 hour work day as opposed to 12-14 hrs a day.I now prefer working with a team rather than being in seclusion as I find the process much more exciting compared to when I was on my own. It also means that my work has become much more of a team effort throughout the process. At first it was difficult, but now I find I really rely on the feedback and creative influence from others and produce a lot more work in a shorter period of time.
You were involved in the creation of Pandemic Legacy season 1 and 2, so could you tell us a little bit about what that involved and what were the biggest challenges you faced?
After working on the relaunch of the very successful Pandemic franchise I had the opportunity to work on Pandemic Legacy with my Z-Man team. I knew about the Legacy system at the time but had never played Risk Legacy, so I really knew nothing about the game mechanics. Everybody knew the game was going to be special, which really added to the excitement. So because of that there was a bit of extra pressure, although I think it was the healthy kind of pressure. Luckily, I had a good team and 100% trust in my art director Philippe Guerin. His understanding of the visualization needed for games is incredible.
The hardest task was coming up with a concept for the box cover, which was the largest undertaking of the art process. We already knew there were going to be two different boxes for the game and that they would need to be fairly large to house all the components. On top of this was the pressure of a tight deadline, I had come up with a few ideas but they didn’t really showcase the thematic concept. Finally, Phil talked to me about a clock concept (this is where it helps working with a team) and this changed the entire direction of the artwork. The boxes would now be connected as a single image. This got me really excited because it meant I’d get to work on an epic cinematic image.
The next phase was to incorporate the games storytelling and thematic nature into the concept and I decided to focus on the drama of certain situations. After this a style had to be found as well. We go from style to style with every project and this is probably the most difficult part of my job but also the most fun because there’s always so much exploration and learning.
What was the inspiration or core idea that drove your work on the Pandemic Legacy games?
Pandemic has a very cinematic universe. In fact, I can imagine Pandemic Legacy as a film series because in my eyes that’s really what the games are. This is a game about heroes and heroics, trying to work together and save humanity. There’s a bit of a dark undertone to the game too but that wasn’t quite right for the illustrations. The game had to focus more on the characters than the viruses. These are just regular people, doing real world jobs, but on a global scale. The viral threat and the tension caused by it is something I had to be able to incorporate within the compositions.
What are you currently reading, listening to or looking at to fuel your work?
I’ve been listening to Schoolism podcasts a lot for both inspiration and knowledge. Schoolism is a really great website that offers cheap art courses for a monthly fee taught by world class professionals. It’s an amazing source for art education.
What advice would you give to anyone wanting to work in the board game industry?
I work in a lot of styles, so I have to understand style and that comes from understanding art fundamentals. When I worked freelance I had pretty much no time to practice so now that my day job affords me more time in the evenings I’ve been trying to work on different learning exercises, both digitally and traditionally. The nice thing about this is I can work on creative ideas of my own, as well as study what I consider the great artists and illustrators. When I’m not dealing with certain fundamentals at work I can practice for an hour in the evening. It’s amazing how fast you can get rusty.
Do you have any current projects underway, or coming up that you’d like (or are able) to tell us about?
Yes! There is a great new game we’re producing at Plan B Games by Michael Kiesling called Azul. It’s being released at Essen this year. The theme comes from the Azulejo tiles of Portugal. It’s really an abstract game but with this theme it’s been given a special feel. It’s not typically the type of illustration or cover work that I do and for this project I was able to design the titles on the box as well, which I’m not always apart of. I’m usually just so focused on the illustration alone. As a team we were really happy the way the design and art came together.
Finally, if we’d like to see more of you and your work, where can we find you?
You can find me at: https://chrisquilliams.deviantart.com/
If you go to Boardgamegeek you can see my page as well with all the games I’ve worked on.
Thanks so much for the interview Ross.
(All images supplied by and belong to Chris Quilliams. 2017.)
Gloom of Kilforth - Tristan Hall: Art in Board Games #18
I wanted to play a beautiful classical RPG adventure game that recaptured the feeling of playing Dungeons and Dragons in one evening, which meant epic adventures, meeting strange people, going on quests, exploring ancient places, enlisting allies and overcoming enemies and obstacles and finding great treasures, and no game I’ve played before..
Welcome to Issue 18 in my series sharing the stories behind board game art.
This week we have Tristan Hall a designer who has developed games such as Gloom of Kilforth and is producing the forthcoming 1066, Tears to Many Mothers under his company Hall or Nothing Productions Ltd.
For more great insights into board game art, head to the interview archive.
Hello Tristan thanks for taking the time to speak to us. Firstly, could you tell us a little bit about yourself?
I am a freelance creative producer - I shoot, edit, and produce videos by day, and I design board games by night. I also run a board gaming podcast called Board Chitless where we interview lots of other game designers too.
Now we know a little more about you, I have to ask, as a child what did you want to be when you grew up?
I wanted to be an author, and specifically to write stories. I wrote a book when I was 24 - it did not do well. So now I tell stories through board games instead. I’m obsessed with stories, and I always have been especially fantastical stories. I think a key moment in my life was watching Ralph Bakshi’s Lord of the Rings when I was 5 - I think it maybe had an even bigger impact on me than Star Wars. So as a kid I wanted to write stories, but when I was old enough to realise you could make those stories into movies I wanted to do that too. Which is how I ended up in the murky world of corporate video production!
So how did you first get involved in making board games?
I played board games and RPGs all the time growing up - my best Christmas ever was when I received HeroQuest and my tiny mind was blown by all the components and promise of adventure. I must have designed a hundred quests for that game. I took a hiatus from gaming in my late teens when I went out doing what young lads do but then rediscovered the hobby in my twenties once I was settled down with my now wife. Which I think is a similar trajectory to a lot of other gamers I’ve spoken to. I got into boardgamegeek in a big way (ninjadorg on BGG), looking for a game that recaptured my roleplaying days of yore, but I couldn’t find one so I started developing one instead. I was also contributing adventures and quests to the D&D games and the Lord of the Rings card games which earned tens of thousands of downloads - I had such positive feedback about them that when I talked about developing my own game people began asking where they could get it. After coercing play-testers worldwide to give it a go and getting great feedback I sent it to a game publishing company and they said they’d publish it. Two years later they’d done nothing with it and we parted ways. My play-testers then told me about Kickstarter, so I posted it up on there to see what would happen, after an incredible struggle we funded, and then I had to go ahead and make the game properly!
When you are working on the art of a board game can you give us a quick overview of your creative or thought process and has this changed at all since you first started?
At first I would give lengthy and detailed descriptions of every individual image to the artists, including the pose, expression, clothing and description of every character, creature or landscape in the game, whilst also providing reference images and example art. As you work through hundreds of images together, this process becomes more and more streamlined until you develop a sort of shorthand of communication. I learned to hand over a huge amount of trust and responsibility for the outcome of the images to the artist. Nowadays, 90% of the time I make little or no changes to submitted art work.
You were involved in the creation of Gloom of Kilforth so could you tell us a little bit about what that involved and what were the biggest challenges you faced?
Well, no one had really heard of it. We had no marketing, so it came from nowhere. People didn’t know who I was, and we had this high target of £48,000 so people weren’t really sure if we could deliver. But the word of mouth was incredible and the momentum just kept going. I think it helped that I’d contributed a lot of fanmade material as I mentioned above, and people who had enjoyed those threw in their support for our campaign.
Funny thing about Kickstarter is that people are less likely to support a project if it hasn’t already funded - even though no money exchanges hands if it doesn’t reach its goal. So you see a lot of projects with artificially low funding goals so that they can quickly get over that ‘100% funded’ hump, which is okay as long as you over-fund enough to cover your costs I suppose. We didn’t have that though, so it was a 27-day slog up to that 100% mark, but once we hit it, we suddenly shot up to 150% funded in the final 48 hours when people realised it was actually going to go into production and they could start getting stretch goals unlocked. It was a real underdog story and I think the backers really connected with that, so it went a bit crazy at the end as people started doubling or tripling their pledges just to get us over the next stretch goal!
I think there was some genuine disappointment when our second campaign for 1066, Tears to Many Mothers funded so quickly...
What was the inspiration or core idea that drove your work on Gloom of Kilforth?
I wanted to play a beautiful classical RPG adventure game that recaptured the feeling of playing Dungeons and Dragons in one evening, which meant epic adventures, meeting strange people, going on quests, exploring ancient places, enlisting allies and overcoming enemies and obstacles and finding great treasures, and no game I’ve played before or since Gloom of Kilforth does that with simplistic mechanics and gorgeous art. Fantasy adventure games are all about combat and leveling up, and whilst we have elements of that, the key focus of the game is to have a great narrative adventure experience. It is interesting to witness the sea change in the industry now though, as companies like Fantasy Flight are evidently starting to release fantasy adventure games more focused on the stories rather than the fighting, and I really like what Ryan Laukat has done with Near and Far. I think this is a fantastic direction for gaming.
What are you currently reading, listening to or looking at to fuel your work?
I’m reading a lot of history books to keep 1066, TtMM and its sequels boiling over, but also enjoying TV shows like Vikings and The Last Kingdom for a historical adventuring fix. I like to listen to movie and game soundtracks whilst I work - my wife Francesca is the daughter of a concert pianist and an incredible musician and pianist herself. Francesca composes epic musical soundtracks for my games and has created beautiful soundscapes for both Gloom of Kilforth and 1066, Tears to Many Mothers, so I often listen to her play whilst I work. I also love listening to Hans Zimmer and anything by Trent Reznor. The two other TV shows I’m working my way through that are genuinely blowing my mind right now are American Gods and the latest season of Game of Thrones.
What advice would you give to anyone wanting to work in the board game industry?
Go for it! It’s a great time for the industry right now, many are calling it the golden age, as people want to escape from screens and spend time with real people and real components around a real table, being sociable, having drinks and snacks and listening to music or whatever. (I also love solo gaming and play tons of games by myself to get away from the world for a little bit, or to test myself mentally, or to just learn the rules for when I introduce the game to my group, depending on the kind of game I’m playing.)
Make sure your game idea is fully fledged - play-test it a hundred times, and get people you don’t know to play it too. Take on all the feedback you can, and don’t be put off by too much negativity, there are games for everyone but some people simply will not like your game for any number of reasons.
Platforms like Kickstarter can be incredibly supportive and positive if you keep your backers updated and you are open and honest with them. But a badly handled campaign with a quiet creator and/or an unfinished game can quickly descend into toxicity. Stay on top of your project and ask for help when and where you need it.
Do you have any current projects underway, or coming up that you’d like (or are able) to tell us about?
We have a small expansion for Gloom of Kilforth Kickstarting soon to coincide with the reprint of the game. 1066, TtMM is well under development and will be shipped out early next year. We are also producing the sci-fi horror masterpiece Lifeform by Mark Chaplin, which will be Kickstarting early next year. And we have a whole bunch of other projects we’d love to produce if we can continue to keep pace with the amazing support we’ve been getting from our backers.
Finally, if we’d like to see more of you and your work, where can we find you?
Follow us on all the social channels!
www.hallornothingproductions.co.uk
facebook.com/gloomofkilforth
twitter.com/ninjadorg
instagram.com/ninjadorg
youtube.com/tristanhallrocks
(All images supplied by Tristan Hall)