Andreas: There was a female draftsman, Antoinette Collin, who made things for Robbedoes. I think she has stopped. I think we were the first generation of Saint-Luc. In my year were Duveaux and me, in the next year Antonio Cossu, Philippe Foerster and Philippe Berthet, and the year after that François Schuiten and Goffin and later several others: Séraphine, Chantal de Spiegeleer. Who came after that I don't remember. When Schuiten came to Saint-Luc, we didn't understand what his purpose was. He had already published a short story in Pilote and was technically more advanced than the others.

Saint-Luc was interesting for other reasons, at least to me. At the end of the year there always was a jury of people from the trade to give grades. Those people mostly commented and criticized. It was interesting, but the members of the jury always kept themselves low-profile. There were also less well-known people, who I don't really remember. But in the final year, to be precise, the last day at Saint-Luc, Jijé dropped by. He was absolutely fantastic. He trashed everyone, and I mean everyone. Except for François Schuiten. He was the first one that told me: "That is bad; that stinks; junk. Watch! That is badly drawn... There and there... That doesn't work at all!" Of course I was completely nailed to the floor, but at that moment I truely saw what I had made, free from the schoollike view that was so common at the academy. I told myself: "He is right. That's where you're wrong, it is badly drawn. It's not good. There you're wrong, that doesn't work. That's bad..." At that moment I changed what I could. I started to see, make sketches, spending more attention on the anatomy and draw more realistically. I arrived at a drawing style resembling the first Rork. Then Eddy Paape asked me to work for him.