Context Information
AlbumSwords and ice magic
Magazine PublicationL'enclume de la foudre - Tintin/Hello BD (fr); Kuifje (nl) (number 32)
Magazine PublicationCarol détective: Mission en 2012 - Tintin Sélection (number 19)
from the article "The first publications (1995)":
What happened after Saint-Luc and the Academy?
Andreas: Yet I hold good memories on Saint-Luc, because of the friends and aquaintances it has left me. We shared the same passion, we all wanted to do comics. After Saint-Luc I worked with Antonio Cossu, Philippe Foerster and Philippe Berthet for - I don't remember exactly how long - six to twelve months. We had rented some space and made a workshop out of it. We had much fun. We discussed eachother's work, that was a lot of fun. Talking to comic book artists these days, its always about rights of authorship, contracts and the like. It's no longer about what's really interesting about the trade.
You worked in the same space, yet everyone had his own work...
Andreas: Everyone did his own thing. We just started. I drew the first episode of Révélations posthumes in collaboration with François Rivière and made sketches for Eddy Paape. Antonio Cossu made drawings and the layout for a small business magazine. Philippe Berthet and Philippe Foerster worked on a book about hunting in Belgium; Berthet drew the animals and Foerster did the backgrounds and characters. That was the beginning, we became professional slowly but certainly. Then followed the first festivals of Angoulême, where we made our first important contacts...
How did your collaboration with Eddy Paape come about? You were mentioned as co-author in a story from 1977: Carol détective: Mission en 2012...
Andreas: That went about as follows: Paape had had a scenario from André-Paul Duchâteau for a while. He had made some character sketches, but had not had time to draw the story. He asked me if I wanted to sketch it. In the beginning I wasn't fast enough for him of course: he inkted in a flash, while it took me three days to do the sketches. He called me continuously. That was good, because he taught me to work under pressure. Currently I like to work fast as well to remind myself that I'm telling a story! If you are working too long on a plate - making Le retour de Cromwell Stone I spent up to three weeks on one plate - you seem to string standalone illustrations together, rather than tell a story. Then you lose the feeling that you are telling a story. I rather like to keep a certain rhythm, so that the storyline remains clear.