Person Information
NameFrançois Schuiten
Context Information
ArticleAndreas and Schuiten, creators of fantastic universes (1987)
ArticleAndreas and Schuiten sow their wild oats (1988)
François Schuiten
from the article "Years of study (1995)":
Say Saint-Luc, and you immediately think of Andreas, Schuiten, Sokal, Berthet, Forster, Duveaux, Goffin, Cossu. All from the same generation. Have any people of Saint-Luc become famous before or after that?
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.
--- part of article left out here ---
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.