Here's what people say about working with Zoë:

Kevin Wilson

Game Designer

"I worked with Zoe Robinson at Fantasy Flight Games from 2006 until 2012, when I left to pursue a freelance career. Prior to that, I’d been in the tabletop game industry since 1998. So, I’ve been making games for around 17 years now.  

In all that time, Zoe is the best art coordinator I’ve ever worked with. She shows a keen interest in each project, doing extensive visual research without prompting, and maintaining good relations with artists even when the company couldn’t pay them as competitive a rate as they’d like.

Zoe has a real passion for her work, helping each artist she coordinates with to grow as an illustrator and skillfully helping to shape the look and feel of every project she works on.

Android the board game, in particular, is a project that benefited greatly from her skills. She brought a level of attention to detail and inclusiveness to the game and its universe that wouldn’t have been there without her. Zoe has my highest recommendation."

Jay Little

Game Designer

"Let me get the easy part out of the way. Zoë Robinson is one of the best people I ever worked with. And she’ll be one of the best people anyone else gets to work with, wherever she is. 

Over the years Zoë has managed and cultivated a growing pool of amazing art talent in a demanding industry. The hobby gaming community has increasingly high expectations when it comes to the quality of game components and art. These expectations are even higher for a company with Fantasy Flight Games’ reputation for stellar art and presentation. And even higher when dealing with such well known and recognized properties as Middle Earth, Warhammer, Game of Thrones, and Star Wars.

Zoë has thrived at the center of this demand. Once people get to spend more time with her and learn about the role of Art Direction, I think they come away surprised by just how much responsibility she takes on, managing current artists and contracts, negotiating rates, handling revisions, working with licensors, coordinating with in-house project managers, and signing off on approvals, as well as establishing quality standards and finding and evaluating new talent. And what makes Zoë so exceptional is that she is able to do all of this—as grueling as it may be at times—while maintaining a positive attitude, a sense of humor, and a willingness to pitch in and help out with others.

While all of this makes her a great co-worker, she’s more than that— Zoë has made an impact on the industry with her dedication to a more fair and equal representation of different genders and ethnicities in character art, and other efforts to bring game art out of an outdated age of objectification and into a more modern sensibility."

Zoë Robinson hired me in 2010 to work firstly on Fantasy Flight Game’s “Game of Thrones” Living Card Game, after I sent her my portfolio.

At that time, I had been a pro for more than 4 years, and art directors’ doors were not easy to open in my country. I was not “used” for the type of jobs my style was made for at all, and I took it as an incredible opportunity to get to work with a company outside the country.

After about 5 years of working with Zoë, and more than 200 pieces painted, I can genuinely say that this collaboration did everything for my career. Not only Zoë knows how to motivate illustrators, even when deadlines are tight, or the commission is not easy going, but she’s also especially good at “grasping” an artist’s profile. The consequence of this aptitude, is that she always commissions in a smart way : some comfort zone with a touch of challenge at some point.

This way, I could at last be happy doing my job and learn more and faster in a few years than I ever had. Working under Zoë’s direction especially, dramatically took my skills to whole new levels.

She’s the type of art director who can create a trustful relationship so that I never hesitated to reach out for her for some piece of advice (while I’m on the “shy” side with my art directors, so this is saying a lot, in fact). She is also especially good to “unblock” situations, when she feels you’re having a hard time on a piece: she’s always ready to take some time, to explain, send extra references to illustrate her point, or even shoot reference herself, and has a very keen eye to find out the necessary tweaks. And doing all that, she’s still very encouraging. 

She is exigent in the most constructive way, stimulating and above all, she understands artists. In my opinion, a real good art director is able to make a change in an illustrator’s career, by bringing something positive, sharing their experience, their artistic culture, and by making them feel they can do well and even better than that. That is exactly what Zoë Robinson did for me.