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 work almost entirely digitally in Photoshop on my trusty Cintiq. Typically my process goes; sketch – colour rough – final, with changes done in-between as I get feedback from my clients. I find the sketching stage the hardest because often if a brief is really exciting I’ll have a finished image in my head and I just want to skip to that and ignore all the boring bits.

Sometimes we nail a design on the first round of sketching, but on others, things get changed along the way. If the brief asks for something specific I’ll always do research while I sketch and I often end up with files filed of references after a project.

You were involved in the creation of upcoming game Neverland Rescue, so could you tell us a little bit about what that involved and what were the biggest challenges you faced?

I think the biggest challenge I had with this game was that we didn’t want to reference Disney’s version of Neverland. You’d think this would be easy, but for me at least that’s where I go when I think of Peter (Pan) so to break that mental image was a bit tough. It was hard not to do a foppish Hook or an impish Peter.

Though the temptation was there I didn't watch or look at images of the Disney versions of the characters. Some things still snuck in, Peter's a redhead, though we tried black hair and decided it didn't work. I went back and looked at the original book illustrations and stills from several stage productions to get ideas since Peter Pan has been a stage tradition for years.