Ryan, Yaz and Graham - the Doctor’s companions - are trapped on an airplane with no cockpit, doomed to crash. But Ryan finds a trail of plaques guiding him to a pamphlet in the back of a seat that shows him how to sync up his phone with the mainframe of the plane and land it safely.

This was a really fun one to do, and my first featured graphic in the series.

The Doctor is shown in a flashback montage preparing for the inevitable airplane crash. She is seen building up the pamphlet on a small laptop, watched on by Ada Lovelace and Noor Inayat Khan. Therefore, they needed an unfinished version of the graphic.

Some additional generic graphics were needed for the backs of the pamphlets.

Dossier and file covers were needed for the scenes in which the Doctor and her companions are summoned by MI6 to solve the disappearances of British agents.

Maps for phone graphics as the companions’ locations are revealed by Vor.

Generic street posters for indie or “alternative” music venues in the Moscow scenes.

Generic street posters for indie or “alternative” music venues in the Moscow scenes.

Agent O, from his reclusive hut in the Australian outback, occupied himself with protecting humanity against alien invaders. His interior set dressing asked for piles of edited photographs to showcase his obsession with UFOs and other unexplainable events.

These photos belong to graphic designer Ben Davis and were edited by myself.

More for the set dressing. The photos belong to graphic designer Ben Davis and were edited by myself.

The Doctor is transported to Paris in the midst of the Second World War. Some set dressing posters were needed, advertisements in the artsy and illustrative style of the era.

Additional French posters advertising clothes and cars.

The nameless, light-based extraterrestrials allied with the Master can teleport people via touch into an abstract plane of darkness and shadow. The Doctor and Yaz are both shown on separate occasions to be trapped here. A quick sketch was needed to give the impression of its endless size, its sense of hopelessness. There is no end in sight, only the eternal stretch of eerie black pillars.

Rough sketches of the armoured truck shown in outdoor shots of Episode 3.

Signage designs for the interior of the armoured truck.

Concept for the teleportation pad that the Doctor and her companions use throughout the episode.

The hope was for it to be wide enough to hold several people at the same time.

The idea of having a sleek “awning” for the teleporter was explored as well.

Colour-coded “buttons” for each character to wear that would keep track of their oxygen reserves.

The script called for money to be exchanged between characters, but not using a currency from 21st-century Earth. One of my favourite tasks was to visualise these futuristic paper notes.

I looked to existing designs from around the world to mimic patterns and colour schemes, but focused on keeping it fantastical and recognisable - the kind of legal tender used between entire solar systems.

An extraterrestrial alphabet was needed throughout the episode. I designed each character, and our graphic designer Gyorgy Siman applied it to all the digital interfaces on-screen. It was also used for the hotel signage on the necessary sets.

The Doctor and her companions come across a rusted sign from the Russian town of Novosibirsk. I sketched up the vector that was then given to the 3D-printing team on our specialist offsite studio.

An illustration of the infamous Wardenclyffe Tower was needed for a newspaper graphic.

The Nu Boyana outdoor filmic set in Bulgaria was converted into 1900s New York for Episode 4. As such, the streets and shops were dressed for the time period, and illustrations were needed for various signage, food brands, tailor windows and A-signs. I provided these images while the other graphic designers and trainee focused on typography and other elements for the dressing graphics.

To better visualise the sets, I would paint over SketchUp models by the draftsmen on the team. The Skithra ship needed rocky walls, scraps of harvested alien tech, and moody red lighting.

The “compensation slip” that Judoon officers hand out to owners of damaged goods and property - their recompense for collateral.

A written language had been previously established in Smith and Jones (Episode 1 of Season 3), but a fresh new typeface was needed for Series 12.

Another paintover for a digital set model drawn up by the team’s draftsmen. This was the first I had to conceptualise. Lightning and smoke effects were an important factor to emphasise for a grungy, industrial look.

A very quick colour and lighting mockup for Ruth’s TARDIS with a model of the central console superimposed on top.

Praxeus, a parasitic substance that thrived off human waste and litter, was imagined to grow in towers and spires throughout the chambers of alien material. It would cling and stretch and grasp onto walls, ceilings, each other.

A mockup of the Praxeus tunnel to work out dimensions and sizes proportional to the cast.

Another digital painting to demonstrate possible lighting placements and textures.

With help and advice from Darren Fereday (lead concept artist at Roath Lock), we tried to work out how the Praxeus could cling and grow around the plastic waste that would be eventually incorporated into the physical set.

Zellin, one of the lead villains in Episode 7, commandeered a ship of dark passageways and reflective surfaces. As before, I was tasked with painting over screen captures of the model drawn up by Renn Harper.

The central control dome was modelled by concept art Louis Browning.

A transparent orb and tripod were designed to descend from the ceiling down two glowing poles

Orb from alternate angle.

The Haunting of Villa Diodati took place in the titular mansion on the shores of Lake Geneva. For dressing, the house was filled with digitally-edited photographs that occasionally needed painting over to resemble authentic paintings.

Duplicates of the same vase were needed for two key scenes where Percy Shelley throws it against the wall. There is a shot where Percy is invisible, and a later B&W flashback where the actor is present for the same scene.

The vases were made with wax, designed to shatter, and needed identical patterns painted on each one. Repeats were necessary for shots that weren’t ideal.

Lord Byron recites a poem at the end of the episode. Although the contents were not seen on-screen, I stained the pages and wore the prop down to look more authentic, and filled the central pages with imitation of the real Lord Byron’s handwriting.

An example of the scattered pages from Percy’s writing. Graphics trainee Anya Kordecki wrote the majority of the physical pages while I helped develop the symbols and lettering.

Yaz, Graham and the other human survivors are forced to flee a battle via the space-venturing “gravraft”. It was a small but complex set piece that had could rotate in two sections: the inner flooring, and an outer ring, both in opposite directions to each other.

Hanging cables, loose panelling, rusted supports and a flow of semi-broken monitors all owed to its decrepit and unsound nature. The SketchUp model was done by Renn Harper.

The ship was powered via a reactor-like structure in the centre. The initial design of four “prongs” was replaced by the idea of a colour-changing crystalline object surrounded by glass shielding.

This reactor model was created by concept artist Louis Browning.

The coloured 3D model, drawn up by the draftsmen, placed in-situ against the backdrop of space.

My Photoshop mockup, painted over Renn Harper’s construction model, to give an impression of how the swathes of fabric and materials would look for Ko Sharmus’ human sanctuary.

Another angle of the hideout. Boxes of supplies, loose cables, netting and miscellaneous decoration was dressed in for the final build.

An interior space for the Cyber Zealot, modelled by Renn Harper.

A laboratory built and used by the Time Lords, seen in a series of flashbacks centred on the Doctor’s origins. Painted by myself, modelled by Renn Harper.

A huge set referred to as the “Matrix’ in production, modelled by Daniel Kennedy. The two poles, fitted with several light rings, act to suspend the Doctor in place while the Master circles and torments her.

The curtains hanging from the ceiling were decorated with an insignia designed by graphic designer Gyorgy Siman. I and the graphics trainee, Anya Kordecki, were tasked with printing the design onto the fabric ready for dressing.