Conversations with an Illustrator
Stephen Nickel (alias SteveSketches) is a professional illustrator.
He has a popular twitch channel, is well known in the RPG community for his character commissions, and has contributed to a number of board games and TTRPGs. He has done concept art for both video games and miniatures, and he is the illustrator for both Nut Hunt and Sigil.
Muckville Marsh for Nut Hunt - by Stephen Nickel
Bewitch for Sigil - Rune by Stephen Nickel, Graphic Design by Mike Hnath
I have a huge amount of confidence in Steve as an illustrator – he loves games, understands what a game needs, and in every instance that we’ve worked together, he has elevated our product beyond what I could imagine.
He’s also a solid human being, offering free critiques on his channel in between too many cups of tea.
I’m excited to sit down with Steve and get his perspective on board game illustration, and the state of the industry - the following is a written interview.
What makes a great board game or RPG illustration, and is it different from other kinds of art?
As for games, I have to play them.
Necromancer - by Stephen Nickel
I’ve played every game I’ve worked on before I picked up my stylus. Playing gives the artist a sense of the narrative, tone, and goals of the game.
A good example is Nut Hunt.
Once I played the game a few times I sat down and banged out the design for the box cover. That first design was the one that stuck.
Nut Hunt Cover Illustration - by Stephen Nickel
The game has such a playful, frenetic energy, and I did my best to convert that energy into a powerful cover.
A good artist will immerse themselves in the game, really try to get a feel for it. Then the art will work alongside the mechanics to clearly communicate the tone and narrative of the game, and enhance the experience for the audience.
What are common mistakes you see indie game publishers making in their art direction?
That’s a tough one, and I’m not quite sure I’m qualified to give a knowledgeable answer. A common pitfall I might point out is not to hire an artist too early. Make sure the house is fully built before you paint it!
Changing the game while it’s being illustrated could lead to lots of rewritten contracts and revised work, and that is very costly to both parties.
Dog - by Stephen Nickel
Do you have any tips & tricks for publishers who are looking to license great art, but have a limited budget?
Ooh, good question. Quality art is pricey for many reasons, not to mention the fees associated with purchasing art for resale. When clients approach me for work, they usually have a grand idea of what they want.
This often involves highly detailed full color illustrations. You’re quickly going to see a five figure price tag from professionals for that kind of work!
London Masters’ Guide Cover - by Stephen Nickel
A better approach may be to build up a budget, along with a few tentative plans, and then talk with the artist about them.
What can the artist provide within that budget? Does the artist have any creative ideas on how to find flexibility within that budget? There are lots of techniques the artist may present that you might not have considered.
Maybe the game would look very striking in black and white. Perhaps all those characters could share the same background in each card.
Lines and flat colors are a lot easier to produce than fully rendered pictures with dynamic lighting and textures.
Lil Imp Sketch - by Stephen Nickel
Instead of trying to emulate the styles touted by big companies and AAA games, work together with your artist to find a unique solution. It could be that the faster, cheaper option results in a dynamic, simple style that helps your game stand out from the painterly crowd.
What is your approach to a new project?
Well first, I gotta play the game!
After that I meet with the devs to discuss the visual trajectory of the project.
Once I have a direction it’s important to develop a unique workflow for the game. This cuts down on time and ensures consistency between pieces.
Bunnymagic - by Stephen Nickel
Finally, I run the art order through the pipeline. I prefer to stream the entire process, that way the client and I can talk about it while I work.
Sometimes I’ll propose changes during this process if I find that certain elements aren’t jiving together. This usually means more work for me, but I want to do my part to ensure the game is as awesome as possible.
How many links of chainmail have you drawn in your career?
Joseph, Half-Elf Dragonknight - by Stephen Nickel
Blessedly few. I usually take the coward’s way out and just use hatching to represent mail. I suppose I’ll have to learn an effective shorthand for it when I start doing more traditional work.
Has AI generated illustration changed your approach to illustration, and how do you think it will impact the industry?
Since digital art is the primary medium under threat, my plan is to start investing more time in traditional mediums. Machines make furniture too, but handmade woodwork is making a comeback.
There’s no replacing genuine craftsmanship.
Like many I have mixed feelings regarding the advent of “AI” in the art world. The technology devalues art, driving industry prices down even further.
On the other hand, it’s an excellent diversion for those that condescend to treat me like a machine!
Mecha commission for Mutants & Masterminds - by Stephen Nickel
As for how this will affect the industry overall, I believe that those that put their faith in machines will find themselves disappointed. After all the audience is human, and as their earnings diminish they will want to invest what few dollars they have left on living art rather than dead drivel.
Other than Nut Hunt and Sigil, what was your favorite project?
Oooh, that’s always a tough one, and you’ve denied me the opportunity to wax poetic about Nut Hunt! Heck, let me think… I’ve done many jobs, but conceptual design work is definitely my favorite. I love designing stuff from scratch, things like characters, creatures, even whole worlds!
I suppose if I’m honest, my favorite project is the one I’m currently working on with my wife. We’re designing our own TTRPG setting along with a compatible system.
Gwyll Concept Art - by Stephen Nickel (for he and his wife’s TTRPG)
Compulsive worldbuilding, scope creep, and the charming depredations of two neuro-divergent children are slowing us down, but we should have enough to fire up a patreon soon. I’m super excited to have that rolling alongside my contract work.
What advice would you give someone who is aspiring to be a professional illustrator?
That their success is ultimately dependent upon their skill. If they find their skills lacking, they must improve before trying to rustle up work. The industry is bloated with countless novices and amateurs haggling and undercutting left and right. Don’t waste your time fighting over scraps. Get your craft to the point that you can demand real work, real compensation. Entering the fray before then will leave you drowning with the rest of the rabble.
Faerie for tcg token - by Stephen Nickel
That said, be encouraged! You can make a living drawing dragons, fairies, and space men! Success is more attainable than ever with endless resources, workshops, and youtube videos. You can even stop by my stream and pick my brain any time! I’m always happy to offer whatever help I can to those that wish to become successful artists.
If you like Steve’s work you can find more on: Instagram, Twitter, ArtStation, and Twitch.
He is open to commissions and reachable at stevesketches@yahoo.com
And, if you’d like to delve a little deeper into the process of finding and hiring for illustration, check out our Comprehensive Guide to Illustration.
What games have your favorite illustration?
