Jonathan Blake wrote:
Attention Simon. :) As our resident PAJ expert, do you have any further questions to ask of him?
Eh-heh! ;-) OK, I have a couple of questions:1) According to Solar Wind, a compilation of works from 1974-1980, you had an interest in science-fiction. However, by the 80s and 90s, you were probably much better known for your fantasy artwork. Was this change a conscious decision based on your own changing interests? Or was it down to fantasy being more popular at that time, forcing you to move to where the work was? Do you still have an interest in science fiction literature, TV, or films?
2) The majority of the UK gamebook authors know each other reasonably well, since most of them worked for Games Workshop at one time or another. Did the artists and illustrators for these books have a similar fraternity? Or is being an artist even more of a solitary existence than that of an author?
3a) Does "Heroes and Villains" contain the black and white illustrations you created as the internal artwork for "Starship Traveller"? How do you feel they compare to your colour artwork?
3b) Does "Heroes and Villains" contain the artwork for the "Fantasy Questbook" "Starflight Zero" (by David Fickling and Perry Hinton)? Do you have any memories on painting these works to such a tight brief from the authors? What sort of leeway did you have in creating these works?
4) Are you aware of any inappropriate or bizarre usage of your artwork without permission?
5) Are you aware of any up-and-coming young fantasy artists whose works we gamebook fans should check out?
That's all I can think of, really. Feel free to edit/exclude or amalgamate these with the others below. Thanks for posting this to me, Jon. :-)
-- Simon Osborne
---------- Forwarded message ---------- From: <paj@xxxxxxxxxxxxxxxxxxxx> Date: Wed, Mar 26, 2008 at 3:23 AM Subject: <>--- PETER ANDREW JONES PUBLISHING : H&V update ---<> To: Jonathan Blake <blake.jon@xxxxxxxxx> Hi Jonathan, re: your idea of complimentary/alternative questions to the Italian site. Below is the Google translation and here are the questions > NOTE THE SPECIAL TERMS AT THE END OF THE QUESTIONS PLEASE Hi great Paj, interview is ready! :) Thanks in advance, obviously. For first i apologize if some question is not very well wrote. If you don't agree someone of these, don't worry. Don't reply and subtract 1 magic point :D Ok, let's start: 1) Who is Peter Andrew Jones? 2) When did you begin drawing? What was your artistic path? 3) Who are the artists, current or belonging to the past, that you look up the most (both in the epic/fantasy genre and in other genres)? Is there any colleague you take inspiration from in your style, and who are, in your opinion, the colleagues whose style matches yours the most? 4) How did you get to know Lone Wolf? When, and how, did your liaison with Joe Dever begin? Are you still in touch with each other? 5) The drawings you made for the LoneWolf gamebook series are some of your best known works. Do you think they are some of the better, too? 6) What do you think your masterpiece is, both among your every work and regarding gamebooks only? 7) Why did you stop drawing covers for the LoneWolf gamebook series? 8) The covers for LoneWolf 1 to 12 were not originally set aside for the english edition of the books; infact they appeared on the italian and french editions, and only from 1990 on they were used on the english reissues; the subjects of those twelve covers have no obvious relationship with the contents of the books, unlike the covers for volumes 13 to 20. Were those covers commissioned specifically for the french and italian editions of Lone Wolf, or were they works planned for different purposes and then adapted as covers for Lone Wolf? How can be the almost-no relationship of some of the covers with the book contents be explained? Who or what does the humanoid "monster" wielding a broadsword on the italian (and Red Fox) cover for Lone Wolf no. 1 represent? 9) For what other products, in the field of role playing games and other fields, were you commissioned illustrations? In what other gaming products (board games, role playing games, videogames...) of the past, the present, or the future, is there a piece of your art? 10) The famous cover for Warlock of Firetop Mountain faced the publisher with a few problems, because the space reserved for the title was at the center of the picture, instead of on the top of it. Was it a deliberate choice, or was the drawing made while following an inspiration? 11) Which gamebook series would you like (or would have liked in the past) to illustrate? 12) Are you playing/have you ever played gamebooks? What is your opinion about this kind of games? 13) while surfing on your website, we noticed that Heroes & Villain, a sort of portfolio which should include all your covers and artworks for RPGs, gamebooks, and videogames, should be published very soon. Can you give us a little preview of it? What should we, as gamebook fans, expect from this kind of work? 14) If you could be the one to decide, what would the subject of the LAST cover art for the Lone Wolf gamebook series be? 15) In your opinion, why have gamebooks as a form of reading and entertainment had such a critical period since the middle nineties? 16) What kind of future do you foresee for the illustration world and illustrators as workers? In particular, what does an old-school illustrator like you think about such a heavy usage of digital colouring software in your field? Is that a new frontier, a new resource or just an impoverishment of an artist's personality? 17) Why do several publishers change the cover art when they have to localize a gamebook series? Has that ever happened for any of your works? If so, how did you feel as an artist illustrator? 18) Have you ever thought about drawing a graphic novel based on a subject on your own? 19) Have you noticed many differences in motivation between the works you create as an indipendent illustrator and those that are commissioned to you? How is usually your relationship with your commissioners...do you prefer them giving you a detailed idea of the illustration, or to be given carte blanche? 20) One last question : are you satisfied with your job and your career? If you could go back in time, would you change anything or would you do everything the same way? Have you got any regret or remorse? ---End of interview--- To avoid any misunderstandings (through language misinterpretations etc) > the interview took a very great deal of input on both the part of the fans, and me (as you will see from their comments in their site) so they are understandably quite proud of what they have put so much effort into (I am very flattered to say the very, very least . . . . . . .) so sensitivity is called for here - the best way forward would be for the Aon site to concoct alternative questions to put into the book but, if you do in any way utilise what the Itaiian fans have constructed it is their polite request that you respect their extensive effort by giving them a proper quote in recognition of their efforts. ~~~~~~ Manage your subscription at http://www.freelists.org/list/projectaon
~~~~~~ Manage your subscription at http://www.freelists.org/list/projectaon