The Art of Paul Renaud (Marvel comics) arrives at the Blueberry Encyclopaedia, with a cool sketch to join our tribute to Moebius and a fresh interview.

Paul Renaud:  Paul Renaud Officiel

Paul is a French comic-book artist, born in '75 and Toulouse resident working for both European and French markets. Marvel, Image, Dark Horse, IDW, Dynamite entertainment, Basement comics, amongst others...are the credentials of this talented artist.

He has happily answered our request for being part of this blog, share his art with us, do an interview and send the sketch of Lieutenant Blueberry he has created for us.

This is the full interview:

- What was your greatest artistic influence at the beginning of your proffesional life? And now, which artists do you respect the most?

As a child, I read a lot of Marvel comics, then I discovered Jean Giraud / Moebius at the age of 14, and it changed the relationship I had with drawing. That is what triggered my desire to become a professional. He showed me by his work that the imaginary has no limit, and that the drawing is an extraordinary vehicle to generate any kind of emotion.

People such as Arthur Adams, Al Williamson, Barry Windsor-Smith, Kevin, Nowlan, Dave Stevens, Olivier Vatine, Alan Davis, Rick Leonardi, Carlos Pacheco, Paul Smith or Bruce Timm were great influences for the young designer I was. I witnessed the birth of the great Mike Mignola I was, and still I am a big fan (initially for his influences on Frazetta's side).

When I discovered Adam Hughes, I had the feeling that he had managed to synthesize many of my influences, and that with genius. He is without any doubt, one of my greatest influences in drawing.

More recently, I would mention people such as Stuart Immonen, Claire Wendling, Olivier Coipel, Josh Middleton, Ryan Sook, Alex Alice, Travis Charest, Denis Bajram, Alex, Ross, Pepe Larraz, Sean Murphy, Goran Parlov, Leinil Yu, Lee Weeks , Chris Samnee, Corrado Mastantuono, Pasqual Ferry ... there are so many...

I have had the opportunity to meet him several times, and he has always been extraordinary. He was very patient, and extremely available for an artist of this caliber. He treated the young with the same respect as the powerful, and every encounter was a real exchange. I did an interview for a Fanzine in which I was participating as he began the cycle of Mister Blueberry. He spoke to me openly about his doubts, his aspirations, his relationship with Jean-Michel Charlier. These conversations with him are among my most precious memories.

- With whom would you like to work?

I would love to work with Alan Davis one day. I think he's a very underrated writer! He has a certain talent for telling great sagas without ever forgetting the human side of the characters, and also with humor. He is also someone who knows how to tell in pictures, and create a great excitement of reading (in the scenario as well as in the drawing).

I also hope to be able to draw a story by Mark Shultz. We have talked about this a number of times, and I think it will happen when we can find the time.

I would like to work with my friend Rick Remender. I think Rick and I are on the same wavelength, and I've always loved to collaborate with him ... and I love him very much humanly, which is a bonus. Again, we are talking about doing something together again, maybe soon.

As for Marvel, I love working with Mark Waid, and I hope I can do more with him.

- What do you think of digital comic books ... is the comic industry in danger / crisis with the menace of pirate downloads? How can this affect the work of artists??

I read a lot of comics on Ipad, and I think the colors are beautiful. The format seems to suit American comics, or manga. This is not the case for European comics unfortunately. This could replace US comics, but I still prefer to buy the editions collected in paper. Nothing replaces holding a book in your hands. I have never had too much experience with the turbomedia, but it sounds very interesting.

As for the pirate downloads, I think this can be the equivalent of reading books in the library. This allows people to discover series, but I would like them to be responsible enough to buy the books they love to support the authors.

- How is the experience of working for a giant like Marvel?

This is the best professional experience I have had. I love the relationships with publishers, and the freedom I have to draw those characters I've loved so much.

Drawing the X-Men, or Captain America as I do now gives me extraordinary joy.

- What are you working on and what are your upcoming projects?

I've just drawn some covers for DC on Nightwing and Wonder Woman, and I'm making covers for the new STAR WARS: Captain Phasma series.

I also work on the new Marvel GENERATIONS event, drawing entirely the episode dedicated to Captain America that Nick Spencer writes.

- What are your memories / relationship / influences with Jean Giraud and their artworks?

I first discovered Blueberry, but knowing that he was designing other works under his Moebius name. He is the artist who has most marked me, and whose career I have followed with passion.

His exploration of the lines in all the areas he touched is exemplary. In addition to being able to rise to the top of the designers heirs of Jijé (the realistic school stemming from Milton Caniff and Hal Foster), he also developed a graphic personality based on the pleasure of drawing. His graphic narration out of pairs allowed him to explore any type of story with the same ease. And what a colourist of genius!

I am not ashamed to say that I am a real fan.

I have a preference for the Blueberry period that goes from Angel Face to Arizona Love, but of course The Lost German Mine is a masterpiece! I also like his Jim Cutlass a lot.

As for Moebius, The Hermetic Garage is perhaps my favorite because of the immense stylistic variations. And the World of Edena for the purity of drawing.

I also love his Silver Surfer, of course, for sentimental reasons.




Captain America

Star Wars

Star Wars 

Wonder Woman

Game of Thrones