Context Information
StoryBiographie de Robert-Howard Barlow (1918-1951) et ses relations avec H.P. Lovecraft
IllustrationCover of Tintin 1978-47
Album EditionLuc Oriënt: L'enclume de la foudre (1978, Le Lombard)
Album EditionLuc Oriënt: Het aambeeld van de bliksem (1978, Le Lombard)
Magazine PublicationLa montre aux 7 rubis - Tintin/Hello BD (fr); Kuifje (nl) (number 41-50)
Magazine PublicationCover of Tintin 1978-47 - Tintin/Hello BD (fr); Kuifje (nl) (number 47)
Magazine PublicationUn siècle pour une maison - Tintin/Hello BD (fr); Kuifje (nl) (number 47)
Magazine PublicationLe soleil se couche - Curiosity Magazine (number 78)
Magazine PublicationSchizo - Le 9eme Reve (number 1)
Magazine PublicationBiographie de Robert-Howard Barlow (1918-1951) et ses relations avec H.P. Lovecraft - (A Suivre) (number 6-7)
Magazine PublicationAmnésie - (A Suivre) (number 11)
Magazine PublicationLa visitation d'Amiens - (A Suivre) (number 25)
Magazine PublicationLa femme de cire du musée Spitzner - (A Suivre) (number 30)
Magazine PublicationLe crime de la mosquée - (A Suivre) (number 35)
from the article "The first publications (1995)":
After that came Udolfo?
Andreas: Before Udolfo I made two plates, so Paape could finish a story of Luc Orient before he could start Udolfo. That is at the end of L'enclume de la foudre, there is a large lizzard on the final plate.
Andreas: We worked on Udolfo when I moved to Paris, that was in 1978.
For Udolfo you were given a scenario. Could you decide yourself which points of view, ways of cutting pictures, and what positioning of the characters to use?
I had the scenario of André-Paul Duchâteau, specifying on the left what happens on each picture and on the right the dialogues, picture by picture. But I had a lot of freedom. Eddy Paape wanted me especially for the plate layout, the mise en scène.
That work division is remarkable, because in American comics the one who sketches and cuts the story in pictures is credited with the drawing, while an assistant inks all accordingly. Yet in Tintin/Hello BD (fr); Kuifje (nl) you were only mentioned for your work on La montre aux 7 rubis in the fifth episode, starting with page 12.
Andreas: That's possible, but it didn't really bother me. I was happy to be doing something. I was of course very surprised when Eddy Paape asked me to do the sketches for him! Anyway, Milton Caniff also had someone doing the sketches for him.
Did your drawing style resemble Eddy Paape's
Andreas: I must have one or two copies of those sketches somewhere. I didn't draw like Paape at all, but it didn't look like Rork either. It was just the best I could do at the time. By the way, I had to work on a size that was too big for me. Paape then corrected the mistakes in my drawings and inkted all, in his own way off course. He changed the characters somewhat, added his fine lines, gave it his own style.
How was your contact with him? Did you feel at home with him?
Andreas: To me it was more about the man than about what he made. He was an OUDE ROT IN HET VAK. The things he taught me I still use. Simple, yet practical things. Limited, but important. From time to time I still recall new things.
About the same time the first episodes of Révélations posthumes appear in (A Suivre). Where your collaboration with François Rivière originate?
Andreas: The first episode of Révélations posthumes I made in 1977 and these were published the year after in (A Suivre). The contact with François Rivière comes from that famous day when Jijé visited the Saint-Luc. I had a drawing on (site-editor: in Dutch: schaafkarton), my first. That happened to be the only one of which Jijé had said:""That's good! Look, that is good, elegant..." Rivière was there as well. He was looking for someone to do the cover of a Jules Verne book and approached me. Later I asked him to write a story for me. I believe he didn't feel like it at first, but I persisted, so eventually he came up with a text on H.P. Lovecraft. After he had seen the first plates, he became more interested. At first we worked for Métal Hurlant, for a Lovecraft special. But when I was finished, Riviere told me: "Métal Hurlant isn't doing well these days, they don't pay well. Maybe it would be better to go to (A Suivre)." I must say I didn't feel good about this thing with Métal Hurlant. That also led to some arguments. Later I understood that it was really something for (A Suivre). They were looking exactly for this mixture of comics and literature. After that we continued working for them. Métal Hurlant was a lost case in all respects.