- Vade-Mecum: It's rather difficult in France to get information about you. Who are you actually? When and where were you born? What studies did you follow? How did you end up doing this job? (We are just doing a little presentation of you, even if it sounds more like a police interrogation...)

- Paul Kidby:  I am a 44 year old freelance illustrator.  I originally come from
London.  I have been self-employed since 1986 working on art commissions.  I left school
at 17 and worked for two years as an apprentice dental technician, before taking on a
job as a painter of roller blinds, I then began to work for an art studio that produced
greetings cards.  I did not go to Art College, and I have no formal training, although
a retired art teacher in my road gave me help each week with my drawing skills such as
anatomy and perspective.
I ended up doing artwork for Discworld in 1994 after queuing up to see Terry at a book signing where I took the opportunity to give him some of my character designs.  A few
weeks later he rang me and asked if I would be interested in working with him.


- VM : Some of your works are shout-outs to well-known paintings like Da Vinci's Mona Lisa, Edward Munch's The Scream, Grant Wood's American Gothic etc...What are your models, your muses, your inspiring influences?

- PK:  Sometimes the opportunity arises to parody famous pictures; I only do this if
it fits with the characters and gives an extra dimension.  It amuses me to do this!
Other influences and sources of inspiration are: nature, the work of other artists (I have many reference books), and music such as Goldfrapp's 'Seventh Tree' and Coldplay's 'Viva La Vida'.
My main muse however is obviously my dear wife Vanessa, who works with me creatively, and keeps everything organised!


- VM: We know thanks to the Art of Discworld that you discovered the Discworld via a present. What is your favourite volume? And the one you like most to illustrate? By the way, which is your favourite character?

- PK:  My favourite Discworld book, which I like to draw from, is 'Guards Guards!' 
This is because of the way Vimes develops through the story, and it's got dragons, which
I love to paint!
My favourite characters are:  Granny Weatherwax, because she is such a powerful and interesting witch; Vimes, because he is another complex individual and its fun trying to
capture the different elements of his personality.  I also like to illustrate Death, 
this is because people have a knee jerk reaction to skulls and it's fun to try and give
him a benign, friendly feel which goes against the classic pre-conceptions of the grim
reaper.

- VM: How did your collaboration with Terry Pratchett build up? Did you send him some of your works? Did he contact you personally? Or did it happen in a completely different way?

- PK:  As I have already mentioned, I showed him my artwork at a book signing, those
initial sketches were of Rincewind, Cohen, Granny Weatherwax, Nanny Ogg and Magrat.  The first project I worked on with him was The Pratchett Portfolio which was published in
1995.  I went on to produce various diaries and maps, and then in 2001 following the sad
death of Josh Kirby, I did my first book jacket, The ‘Nightwatch’.

- VM: What is the process of your Discworld illustration work? Do you read the entire book? Do you doodle throughout your reading? Does Terry Pratchett ask you a precise commission? What does it look like?

- PK:  When I did my early work with Terry there was a wealth of published Discworld
books which I read and made notes throughout before starting to draw.  This gave me a
clear understanding of the characters, and any physical descriptions of them.
Nowadays, when I am commissioned to produce a new book jacket, the publishers usually like to have the artwork before Terry has finished writing the book.  So I am given a precise
brief from Terry listing what he wants to see included in the illustration.  This comes
to me as an email via an art editor.
I then make a sketch and send it off for approval by Terry and the publishers, before
making a final drawing to be coloured up.  The whole process takes around four weeks to
complete.

- VM: What is your most enjoyable memory as a Discworld illustrator ? Your favourite compliment?

- PK:  My most enjoyable memory was working closely with Terry back in the early days.
My most favourite compliment is that I have managed to capture the characters exactly as people imagine them, especially when that comes from the writer himself.

- VM: Generally speaking, how do you work? Are there particular circumstances, atmospheres? Well, with music, maybe?

- PK :  I work in the dining room of our house,  I like to keep the environment tidy
although reference books and paperwork does tend to pile up very quickly!  I play music
while I work, and I drink lots of cups of tea!  One day I hope to have a studio of my
own.

- VM : Some of our budding artists would like to know about the tools you use for your work (type or brand of painting and canvas ...) ?

- PK :  I use Windsor and Newton acrylics and Windsor and Newton Griffin oil paints
which dry overnight.  I build up thin layers of paint and it is a gradual process.  I
work on illustration board or paper.  When drawing I use 2H, H, F and HB pencils which
do not smudge.  I also use a selection of very fine Cotman brushes made by Windsor and
Newton.
I very rarely work on canvas as the surface is not smooth enough for high detail. Most illustrations are produced at least 2x the size required for printing.  Sometimes I
work on a very large scale, such as the cover for the Last Hero which was 3ft x4ft (this
however is not very practical!)

- VM: "The Last Hero" was a splendid work of art. Was the idea of an
illustrated Discworld book (which reminds us of Faust Eric) originally from Pratchett or was it one of your suggestions? How much time did it take you to realise it?

- PK:  The Last Hero was Terry's idea, and was a wonderful opportunity for which I am
very grateful.
I worked on it over two years (Spring 1999 to Spring 2001), but also during that time I produced the illustrations for two Discworld Diaries and Nanny Ogg's Cookbook.  It was a difficult time of hard work, during which my first marriage broke up.  Ideally I would have liked to have spent the full two years working solely on The Last Hero.  I am glad that people like the final publication, but I still feel a little frustrated when I look at it!

- VM: What do you think of the other two well-known illustrators of the Discworld, Josh Kirby and Stephen Player?

- PK:  I admire Josh Kirby's work, he had a very strong and distinctive style.  I was
lucky enough to meet him on a couple of occasions and he was a kind and talented man who
seemed somewhat puzzled by the enthusiastic reaction of his fans!
Stephen Player is an accomplished artist, and it is always interesting to see how other illustrators perceive Discworld.

- VM: What are your future projects, whether they have a link with the Discworld or not?

- PK:  Over the last few years I have been enjoying exploring other artistic avenues,
producing non Discworld art, and doing some sculpting.  I am currently working on a new
personal project which I hope to see come to fruition in 2009.  I will be posting
further details of this on my website www.paulkidby.net in the months to come.
French Publisher Daniel Maghen has recently released 'l'Univers des Dragons', volume two, this contains artwork by many contemporary fantasy illustrators, including myself.
I also continue to produce Discworld artwork whenever I am commissioned, at the moment I
am working on the cover for Terry's new book 'Unseen Academicals', you will be able to
see this work in progress on my website.

- VM: If you were a Discworld character, which one would you be? And why?

- PK:  I can relate most closely to the characteristics of Vimes and Rincewind. People
sometimes say I look like Rincewind too!  I think we share a similar disposition!



- VM: Not a question, but our resident fan-artists would like to say they idolize your work and have it as their  primary inspiration in most aspects. You probably would be hard-pressed to find a Discworld fan-artist who doesn't. Though they frequently get frustrated when your depiction seems so perfect that it blocks all further attempts.  Any comments?

- PK :  It is a great compliment to have my work appreciated.  I think that with art of
any type, there is plenty of scope for new interpretation.  However, I must admit to
feeling that what Alan Lee produced for 'Lord of the Rings' was definitive, and that I
could not surpass it.
I would encourage any fans to keep working on their own style and never to feel
discouraged.  I hope that my work inspires them in their own work.  I often look at
other artists work (including Alan Lee) to encourage me and give me inspiration.


- VM: A rather inquisitive question : Do you actually make your  living from your
job as an illustrator ?

- PK:  I try to! 

 - VM: A rather French question : Have you ever been to France ?

- PK: I Love France!  My wife, Vanessa and I have had some fantastic holidays in Paris
and the Maritime Alps.
There is a wonderful culture in France and the people seem to have an appreciation of art and artists which is not very apparent in England.  We also enjoy the food, wine and varied landscapes!
We will be visiting France again in 2009, and we are very much looking forward to it.

May I take this opportunity to thank everyone who enjoys my work in France, I am very
grateful for your continuing support.  I wish you all a wonderful New Year!

Paul.