By Derek Thompson

Every time I write a game review, I spend a good deal of time talking about the game components. I even wrote an editorial on how important they are to me. So, it’s only natural that I should want to talk to those amazing people who jump-start our imaginations every time we play a board game: the artists! Vincent Dutrait has done a considerable amount of art for GameWorks in a short time: Tikal II: The Lost Temple, Tschak!, and Water Lily all show his work. He’s also worked on recent releases Mundus Novus and Shitenno. Thanks to Stefan Brunell and Asmodee for helping with the translation.

 

How did you first become interested in art? And more to the point, how did you become involved in art for board games?

I’ve been drawing since – well, since always. I didn’t just wake up one day, inspired to draw. I’ve always loved drawing. After a period of superheroes, I got interested in role-playing. At first, I was fascinated by the illustrations. After that, as I grew more excited by the alternate worlds, I became really interested in the chance to be the hero. The art made me dream, and I had one wish – to do the same thing with my own art.

Most of my work is children’s books. About ten years ago, in order to expand my horizons, I contacted some game publishers, which resulted in some interesting commissions. It’s only really been since 2010 with Water Lily and Tikal II (with GameWorks) that I got really deep in the world of board games. The proof is the growing number of new gaming collaborations (including Tschak!).

Are there any particular artists that inspire you?

I admire the American painters of the early twentieth century, especially Newell Convers Wyeth. Wyeth was a painter and illustrator, as was his master Howard Pyle, who I also like. Not to mention Dean Cornwell, Frank Schoonover, Harvey Dun, Maxfield Parish… I’m also a big fan of Art Nouveau. The work of Alfons Mucha has fueled my imagination. I also frequently use the art of Andrew Loomis as reference. The list of painters and illustrators that I like is rather long. Arthur Rackham, Edmund Dulac, John Howe, Joseph Clement Coll, James Gurney, Frazetta, Alan Lee for his illustration, François Boucq, Mathieu Lauffray, Cosey, Marc-Antoine Mathieu, Taniguchi, Otomo for comics, Miyazaki for animation and many others! I spend a lot of time online and in bookstores searching for new artists, new books and collections of illustrations to complete my library.

[Interviewer note: I have a lot of Googling to do now, thanks to that response...!]

GameWorks seems to use a specific style for their games, even the work by other artists – bright, colorful and cartoony. Did you already fit the bill for that style of work, and that’s why GameWorks chose you, or is that not your typical style?

I usually have a very detailed and realistic style, but with a style and technique that allow to me find different lands, even different worlds. I adapt easily. For example, in the case of Tschak! with GameWorks, we decided for a slightly realistic style that was more fun, accessible, and immersive.

How does the process work? What kinds of directions are given for a game?

Some commissions are simply a summarized list of images to create, without any consultation from me. That’s fine, but it is often frustrating and not all that constructive. I greatly prefer to share, discuss and participate in the development of the game. This is how I work with GameWorks. We work very closely together, and I can bring ideas to the game for everything visual, making it make sense, thinking about what colors work, the best image framing for components, et cetera. This is when I get to really be an illustrator, and not confined just to ‘draw.’

How often do you play a game for which you’re doing the art? Do you ever play them before you do the art?

I think it’s better to play a game that I’ll be illustrating. This helps me to identify the impact of the images on the players, the usefulness of the art, and its strengths. It allows me to see the entirety of my work, as I explained above. At the same time, it’s not always easy to play beforehand. The editor might be away, time is not always on our side, etc. Then we try to tinker around through the Internet, maybe Skype for an overview, whatever we can do to get a complete and accurate idea of the game.

All of GameWorks’ games have very stylistic components, all the way down to the actual artwork etched into the box insert. Are you involved with the creation of the components, or do you simply submit art for print?

I only work on the illustrations. But it fascinates me, and I routinely ask questions on the designs and implementation of the art to get an overview of what will be done, and thus to better be part of the development process, to be as efficient as possible. This is crucial, whether for a game or a book, to know where my art will be used, and understand all the aspects, from the technology, broadcasting, or printing.

Let’s talk about Tikal II. Can you tell us about the idea to use the likenesses of the designers and publishers in Tikal II, and the inclusion of a comic book in the rules?

For the Tikal II comic, we just considered that a pure bonus. Just for the fun of it, as an introduction. It was very relaxed and we decided to slip in lots of references and inside jokes. Whether the references were to the original Tikal, outdated but still enjoyable comics, Tintin or Blake and Mortimer, or all the participants in the completion of Tikal II. We also had a few winks to friends and Indiana Jones, to name a couple. The comic was certainly not essential to the success of the game, but it gave a good idea of our mindset and let us share with the players the fun and culture of the theme of adventure.

What is easy or difficult about working on the layout of the actual game board? What were your responsibilities for the board of Tikal II?

In the game, in general, there are many technical constraints at the mechanical levels. In Tikal II, as you can see in my blog  there was a specific framework, but I had complete freedom to arrange the art to support immersion and to project the players into the board. I thought about the best way to integrate the elements of the game (card decks, scoring track, etc.) to keep the board readable, colorful and as consistent as possible. Everything has a meaning – the cards and the scoring track is on a wall, for instance. I think we achieved an excellent balance between the game mechanics and the supporting artwork. Neither of these two primary components takes precedence over the other. You can look at the art while you wait for your turn, and still instantly access the mechanics or information you need.

Whose idea was it to include so many cultural reference in Tschak! ? Was this a difficult task to accomplish? Some are fairly obvious (Link, Dirk, Luke Skywalker), but can you point out any that a casual observer might miss?

Ah. I think the theme of the heroic fantasy is not always very accessible to the general public. Tschak! is clearly a family game, so it needed to cater to a very wide audience spanning many generations and cultural or historical references. It was not easy to find the right tone because we wanted to avoid making the game target only role-playing fans or fans of dungeon crawls. We envisioned a mix of serious characters on one hand, some wacky or offbeat characters on the other, and between those two extremes, classical and pop culture references. This mix helps everyone to find a middle ground, and to better relate to the game, so that the theme does not become a barrier. Partly just for fun, and partly as a nod to the players, I packed illustrations and characters with winks and little details and inspirations. The list of additions is (very) long, and I take care not to reveal it (but an estimate might be around three dozen!). What really amuses me is that eventually, players will see jokes and references where there are none to be found!

In contrast to the bright colors of Tschak! and Tikal II, Mundus Novus is far more serious and subdued. How do you know the right tone to take with the art?

It is very important to pick the right tone, and it must be set well in advance. The editor and designer should always define a clear direction, to avoid poor decisions or terrible ‘casting errors’ (how many games today seem to be poorly done thanks to inappropriate imagery?). Then, when it’s time to draw, it’s just a question of feeling. Mundus Novus seems equally colorful and lively as Tikal II or Tschak!. I call it realism and veracity. The approach and feel of the games are very different (just like Shitenno, which I recently did). Tikal II and Tschak! are more flexible, more about the environment and theme, and perhaps less rooted in actual history. Mundus Novus references a time, specific characters, and actual places. It is certainly difficult, and it is often at this point that one can appreciate the work of a good art director who is in harmony with the game, the mechanics, and the illustrations.

Which game left you most satisfied with your work?

It’s hard to choose because I have not done a lot of games. I am very happy with Tikal II because I have rarely had such a sense of accomplishment, whether in the form or the function. It was a monumental, intense task, and we left nothing to chance. I was able to express myself to the maximum of my abilities. I am also pleased with Water Lily for the technical challenge of creating a ‘box pond’, both playable and aesthetically pleasing. Tschak! was exciting! It was a dream come true, where I had almost complete freedom to set up galleries of monsters, treasures and above all, characters! It was great. Shitenno was also exciting, to have achieved what I had in mind (as I explained earlier), and I wanted to work in this universe. I was delighted by Mundus Novus and the spirit that I found, the natural beauty.

Actually, every game is a good time. Each game gives me something different, a special and unique satisfaction every time. And I can recognize myself in each of those games.

I earn my living mainly illustrating books. Games represent recreation and pleasure. This is why I don’t chase after commissions, and why I limit myself to a few titles a year. I choose them carefully, to enjoy them fully. I hope the other three games I’m doing now won’t make me a liar!

What is your personal favorite board game to play?

This is always a difficult choice, as each game brings a different experience and different feeling. I’ll just skirt the issue entirely. The games I can play again and again without tiring are Ticket to Ride and Small World. And Tikal II.

Anything else you want to add?

Creating images for games is exciting, and I am pleased to see that the visuals of board games are getting more important every year. A game is a whole package, made of mechanics, theme, images and players. I find it much more complex and nebulous as compared to illustrating a book. Additionally, players are more and more demanding, fussy and attentive to what is offered. It is a formidable challenge that leaves little room for amateurism. I am very pleased to participate in this great adventure, and it will always be fun serving the needs and wants of players. To share with them the universe, to use colors and moods, to convey feelings and emotions through my images. Good game!

The complete interview and comments available here: Meepletown