Tag Archives: Dirk Stallaert

Dirk Stallaert completed the new cover for the reissue in black and white of the original version of “The secret of Vulcania”

site cover VulcaniaFrom 1 February 1954 until 25 May 1954 the newspapers De Nieuwe Gids, De Antwerpse and ’t Vrije Volksblad published the Snoe & Snolleke story “Het geheim van Vulcania”. The album has since the publication in 1954 never been published in album format, at least not in its original form, black and white that is.
In 1993 the album saw a coloured album release via the Standaard Uitgeverij, however many of the drawings had been adapted to fit a coloured version – as we have shown several times already – so for many people it was still a mystery how the album actually looked like in black and white.

9a41c4e6-7414-11e4-8f09-3cf49d99a6e1We also have to mention that a version of the black and white album had been spread by Het Belgisch Stripgenootschap, albeit in a not so good copied format, and according to our information, this version (which has been reprinted for years) is an illegal one.
But luckily there is the team of Brabant Strip who have now released the black and white version of the album in their Fenix series, including the announcements as published in the newspapers. The album comes with a real cover on top. When looking at the cover you should be able to immediately recognise the hand of no-one else but one of Flanders (even Belgium’s) best comic artists, Dirk Stallaert (Nino, Mieleke Melleke Mol, Plankgas en Plastronneke, …).

I contacted Dirk for some feedback.

BDM: Normally it’s Bob De Moor’s son Johan who takes care of the cover artwork (after the work of his father) for the Fenix reissue series of Snoe & Snolleke. Why did you make the cover this time?

Dirk Stallaert: I honestly have no idea why Johan didn’t draw it this time. I know via Brabant Strip that he didn’t mind me drawing the cover. Maybe he just didn’t have the time for it.

(Editor’s note: In a phone call we had with Johan De Moor, he confirms that it was a lack of time but he also stresses that he was pretty sure that Dirk Stallaert was the perfect man for the job. Case proven.)

BDM: Have you chosen the scene (visible in the strips 37, 38) on which the cover is based or was it suggested to you?

Dirk Stallaert: It was Yves Kerremans from Brabant Strip who suggested to use that scene.

BDM: I suppose it’s not an easy task to invent a cover for an album, which is not yours to begin with. Were there elements in this album that made it a difficult task?

Dirk Stallaert: Aaaah, it’s always a difficult task to try and get things right. Even for my own work it’s always a difficult task to make a cover and when I have to work in someone else’s style it’s even more difficult. I have just received the album yesterday and what stands out I think is the thickness of the lines… it’s quite heavy I must say and the fish isn’t flexible enough to my taste. But like I said, there’s always something to complain about. “Le plaisir de se voir imprimé” is a pleasure which I haven’t had this time. I quite like how the sky looks though. I nicked the idea from “The Black Island”. But don’t tell anyone!

BDM: Ha, as always you have succeeded in perfectly representing the style though as used by Bob De Moor in the album, but keeping your own ‘schwung’ (the sawfish that is).

Dirk Stallaert: I’m quite glad you have discovered the ‘schwung’, because I missed that flexibility. I had documented me really well and had first made a few sketches of the sawfish.

(Editor’s note: Dirk Stallaert sent us the sketches below.)

Zigomar schetsen

As always the pencil sketches are a lot more fluent and expressive. The shark which you can see in the sketch didn’t make it in the final version. It’s often a problem when using the clear line, you only have one line, and that one has to be the perfect one.

Bob De Moor as ghost artist for a reissue of Willy Vandersteen’s ‘Tijl Uilenspiegel’ in 1991

Here’s a detail from the career of Bob De Moor which is not that well known. Online for instance there is no single website mentioning this. But here you have all the details. We expect this story to develop further so a follow-up story will most probably happen.

The cover as drawn by Willy Vandersteen
The cover as drawn by Willy Vandersteen

All starts in 1949. That year the comic adaption of Hendrik Conscience‘ “De Leeuw van Vlaanderen” by Bob De Moor is published in the flemish edition of the Tintin weekly, Kuifje. One of the readers is extremely impressed: Willy Vandersteen, the father of Spike and Suzy. He wouldn’t be the only one being impressed by De Moor’s work, also Hergé was. 2 years it was Vandersteen’s turn to show what he was capable off when Karel Van Milleghem – the chief editor of the Kuifje weekly and a flemish nationalist – asked Vandersteen to create a historical comic based on a flemish hero.

Willy Vandersteen decided to go for a comic based on Tijl Uilenspiegel aka Till Eulenspiegel, an impudent trickster figure originating in Middle Low German folklore, namely in Germany, Denmark, the Low Countries, the Czech Republic, Poland and Italy. For the ‘petite histoire’, Tijl Uilenspiegel made his main entrance in English-speaking culture late in the nineteenth century as Owlglass, but was first mentioned in English literature by Ben Jonson in his comedic play “The Alchemist” or even earlier – Owleglasse – by Henry Porter in “The Two Angry Women of Abington” (1599). But Vandersteen’s Tijl Uilenspiegel was based on the 1867 novel by Charles De Coster, “De Legende van Uilenspiegel”.

Page 40 as drawn by Willy Vandersteen
Page 40 as drawn by Willy Vandersteen

He wouldn’t stick to just that novel so for the first album Vandersteen chose to go for setting based on the “Eighty Years’ War” or “Dutch War of Independence” (1568–1648). The story started in the Kuifje weekly on September 26 1951, a special issue celebrating the 5th anniversary of the weekly. The story was called “Opstand der Geuzen” and was an immediate success not in the least by the way of drawing which reminds of the detailed way of working he also used for the (golden) period Spike and Suzy were published in the Tintin weekly.

Not surprisingly Leblanc asked Vandersteen to continue the series. But you’ll learn more on the follow-up album in another article when we show you how Bob De Moor was involved there as well.

Today we’ll focus on that very first story because Bob De Moor was asked to help out the Vandersteen heirs when in 1991 a republication of the story via the Standaard Uitgeverij was imminent. De Moor’s help was needed because the Vandersteen studios could no longer locate the original drawings of the pages 39 and 40 and also lost the artwork of the cover. Bob De Moor at that time saw his Johan & Stefan re-published via the Standaard Uitgeverij.

Page 40 as drawn by Bob De Moor
Page 40 as drawn by Bob De Moor

Bob De Moor redrew both pages and while he was at it also corrected frame 2 and 5 on page 40 (can you spot the 2 corrections?). For the rest De Moor stayed extreme faithful to the original drawings. Only here and there you can notice some minor differences. Since the cover artwork was missing Bob De Moor also redrew the cover artwork which was also used for the reprint in the Kuifje weekly in 1991. A trained eye will immediately recognise a typical ‘Cori’ hand for the soldier on the front for instance and there are some more give aways if you look carefully.

The cover as drawn by Bob De Moor
The cover as drawn by Bob De Moor

In that respect Bob De Moor has a lot in common with Dirk Stallaert who nowadays is also ‘recreating’ various album covers for reprints of some of the Vandersteen collection (and other series for which the artwork has been lost overtime). Just like Bob De Moor Dirk Stallaert seems to have no problem to appropriate a certain style.

Bob De Moor and Willy Vandersteen were really good friends, it would result in extra good  family ties later on as we will show. We can only imagine that it must have been with a lot of pride and true friendship that Bob De Moor re-created the work of Willy Vandersteen who died a year earlier, in 1990.

Bob de Moor cameo in 1987 Kramikske story

Bob de Moor in "De Kastarrally"
Bob de Moor in “De Kastarrally”

In 1987 flemish cartoonist Jean-Pol saw the Kramikske album “De Kastarrally” released. In that very story, you’ll see Bob de Moor doing a cameo on pages 10 (see the page on the left), 11 and 12, and then further on the pages 14, 15, 16 as Bob ‘The Moor’ also referred to as being a fake Moor. In the story he is a saboteur who travels on a camel through the desert of North Africa. You’ll notice he has a huge pencil as part of his equipment which he later uses to guide Kramikske and his friends in the wrong direction.

Detail: From 1986 until 1992 Jean-Pol was assisted by Dirk Stallaert (Nino, Nero, Mieleke Melleke Mol, Plankgas & Plastronneke) who also inked the actual pages we are talking about.

The Kramikske stories were published weekly from 1970 until 1989 in De Volksmacht and were hugely popular in Flanders (and especially with bakers who often used the baker kid in displays). The series is on hold for now.

Other flemish series that Jean-Pol worked on included De Lustige Kapoentjes (which he took over from Marc Sleen, who took it over from Bob de Moor who on his turn had taken it over from Willy Vandersteen) Annie en Peter and the Studio 100 creations Kabouter Plop and Samson en Gert. He got however more widely known when taking over the Sammy series from Berck in 1994.

Interview with Hec Leemans on Bob de Moor (By Bernard Van Isacker)

Hec Leemans
Hec Leemans

Hector (Hec) Leemans is a Flemish cartoonist and scenario writer who was ‘trained’ according to the press (but Hec Leemans says he just visited the studio one day and Bob de Moor gave him some very useful tips) by Bob de Moor as a 15-year old. Debuting with the series Circus Maximus, he hit the right spot when launching the Bakelandt series which debuted from October 20 1975 on in the newspapers Het Laatste Nieuws and De Nieuwe Gazet. After the death of scenario writer Daniël Jansens in 1980, Leemans took over the writing duties.

Rooie Zita (Bakelandt)
Rooie Zita (Bakelandt)

The last 20 albums were drawn by Claus Scholz while Leemans kept on providing the scenarios. In 2006 the series was paused after the 96th album, but by then Red Zita had become a muse for many male readers.

By 1990 he had also started 2 new series, Nino, drawn by Dirk Stallaert, and the shortlived Kowalsky. While Nino has become one of the best post-Hergé examples of how the clear line can be alive and kicking, it was with the comic series FC De Kampioenen, based on the TV series with the same name, that Leemans would reach a huge mass of young readers. He was also the one who co-wrote the immensely popular film of said TV series.

Hec knows the ins and outs of the Flemish comic scene, so a talk with him on Bob de Moor was on our shortlist for sure.

BDM: In the book “De klare lijn en de golven” there is a reference to a conflict that you have had with Bob de Moor concerning the continuation of “L’ Alphart”. What was it about? Did you minimize his input in Tintin?

HL: I never minimized Bob’s share in Tintin. The quote that irritated Bob was that I had said that I would find it legitimate that someone would draw “L’ Alphart” (Bob that is, who else?) if there was a complete scenario available. In there I also referred to a meeting I had with Hergé during which he showed me how he had put indications on his drafts for the decors. That’s all I said. I don’t know why Bob interpreted this as an attack on him personally, because I especially wanted to overhaul some critics in the press with my example. Fact is that at that moment he was under siege of several people, inside and outside the studio, who all wanted to interfere with “L’ Alphart”. I presume he worked his irritation out on me. I immediately called Bob and 14 days later he invited me for a meal in Brussels. End of story. We never had any quarrel since then. I have the utmost respect for the work that Bob did with Hergé.

BDM: Was he according to you capable – when given enough time (unlike the short deadline he got imposed for completing the Blake & Mortimer album “Mortimer vs. Mortimer”) – to complete “L’ Alphart”?

HL: If there had been a proper scenario, Bob surely could have completed it. But the work of Hergé was, especially scenario wise, rather personal. However, Bob once told me that he more or less knew in what direction Hergé wanted to head the story.

BDM: Bob de Moor risks to end up as a footnote in comic history as his work outside the studio is far less known. In a chat I had earlier last month with Merho, he told that Bob would end up being forgotten since he worked as a servant for Hergé, and that contrarily to Hergé and Vandersteen, he wasn’t really a born storyteller. A theory that isn’t completely correct according to me, the Cori stories for instance showcase that he was an excellent storyteller. What’s your take on this?

HL: History will tell us. An oeuvre can temporarily be forgotten, but find a public again a decennium later. Everything happens in cycles. I’m convinced that the children of Bob will do the necessary to keep his work in the spotlight, which they are actually busy with.

BDM: How would you describe Bob de Moor as human being?

HL: Bob was a fantastic person, a gentleman. He wasn’t fickle, was always friendly and full of humor. A few months before he got ill, he visited my place together with Jeanne, his wife. He offered to exchange a plate of Cori for a plate of Bakelandt. But alas, that never happened. A few months later I met Bob for the last time at a meeting at the Belgian Comic Centre. I knew it would be the last time that I would see him.

I recently remembered a rather funny anecdote with Bob. When the Belgian Comic Centre was opened he had to give a speech, being the chairman. The king and the queen were there and hundreds of invitees. He did his duty with a lot of aplomb in both dutch and french and ended his speech with “Vive le Centre Belge de la Bande Dessinee et viva boma, pattatten met saucissen!” I don’t know how many people heard that, but I did. Typically Bob.

(editor’s note: the “viva boma, pattatten met saucissen” line comes from a popular Antwerp song, but it became ‘cult’ when Gérard Madiata — and not Papa Wemba as so often said — sang the song for president Mobutu and a few Belgian ministers including Willy De Clerck and Leo Tindemans. The latter were on a mission in the former belgian colony of Zaire, which now is the Republique Démocratique du Congo. You can see the fragment here – note that the ministers had trouble not bursting out into laughter. The story would later also pop up in Nero’s “Beo the terrible” by Marc Sleen.)

BDM: Did you learn anything from him when it comes to drawing?

HL: Bob was the very first comic artist I met face to face when I was just 15 years old. Already during that first meeting he gave me some useful tips. I always remembered them: clarity for everything in your drawing.

Bakelandt & FC De Kampioenen
Bakelandt & FC De Kampioenen

BDM: Besides drawing the popular FC De Kampioenen (‘FC The Champions’ in english), you also co-wrote the scenario for the film on The Champions which became a huge succes in the theaters. Any idea why the film “W” by that other popular series “Witse” turned out to be a huge flop?

HL: I guess that it has something to do with the fact that the Witse character in the movie is way too far alienated from the Witse as he was portrayed in the TV-series. People have certain expectations. If you don’t follow those expectations than they just don’t want to see it. Having said that, I can’t judge the film as such as I haven’t seen it.

BDM: The rumor mill has it that you are busy completing a new Nino too. Is this correct and how will the style be compared to that of Dirk Stallaert who did the first 3 parts?

HL: I personally have no time now to work on it. I have no idea how it could evolve stylistically. Nino got a lot of very good reviews in the French press when the albums were released. We should have continued it, then it would have turned into a succes. But it was Dirk Stallaert’s choice to stop.

Dirk Stallaert interview : “I do remember a roaring laugh” (By Bernard Van Isacker )

1499584_642344705815355_2108021851_nAs promised, here’s a first interview in a series which will handle artists that have been influenced by Bob de Moor. The first is flemish artist Dirk Stallaert.

In the past Le Lombard often could rely on Bob de Moor whenever there was a need for drawings holding most if not all of the heroes in the editor’s portfolio. Bob de Moor was able to adopt every possible style, from realistic to cartoonesque. After Bob de Moor passed away Le Lombard looked for a new talent that could fill that void. With the flemish artist Dirk Stallaert (Brussel, 28 December 1955) they already knew what he was worth thanks to his excellent work on ‘Nino’ (in a scenario of Hec Leemans), which was drawn in a pure Hergé/Bob de Moor tandem style. Stallaert had used various other styles before when for example working for Jean-Pol (whose ‘Kramikse’ he mastered in no time) or releasing ‘Dionies d’ Oldenboom’ which shows the more absurd side of Stallaert.

Since ‘Nino’ (which unfortunately never got the success it deserved despite being some of the best work ever released by Le Lombard), Stallaert started to work for Merho (‘De Kiekeboes’), Marc Sleen (‘Nero’) and Studio Vandersteen where he currently resides. Flemish readers will surely have noticed his time spent on the different comics he worked on not in the least thanks to the wonderful female creatures he included, especially in ‘Nero’. Besides his work for the Vandersteen Studio he also has his own series with ‘Plankgas en Plastronneke’, ‘Mieleke Melleke Mol’ and ‘Pakkeman en Poulet’ of which a first album was (finally) released a few weeks ago. And if you can’t get enough, make sure to get hold of the ‘Kitty’ series too.

When we contact Dirk Stallaert he says that the interview request comes right on time as he is totally back into the clear line (ligne claire) mood.

BDM: What was the reason for this sudden new clear line rage?

DS: It didn’t really come fall out of the sky, but it was a gradually returning belief that the best style to pull your readers into a story is that one of Hergé, and also that one of Vandersteen during the 50s plus a few others. In short: the characters remain caricatures, but all the rest clearly isn’t, contralily to Franquin, who – in a masterful way indeed – also deforms requisites and sceneries. Although Franquin belongs for sure to the top when it comes to comic artists, worldwide and from all times, I didn’t think it was a good idea to use the through and through caricatural style which became his trademark for the last Spirou albums.

I’m easily distracted by the graphical mannerism. It remains masterly drawn work but when it comes to Tintin the drawings have – although also excellent – more of a serving purpose and I thus get very easily pulled into the story.

I already was convinced of that almost 30 years ago, after having used all kind of styles, but I wasn’t mature enough to handle that extremely difficult clear line. ‘Nino’ was a meritorious attempt, but, due to my lack of formation, by the fact that I had learned to draw in a wrong, backward way (first the deformation, the caricature, and then only much later the basis, the reality), I lost heaps of time and energy that I soon left the clear line for what it was. Now, much later, I feel way more capable to approach the Hergé style and I try to get back on the clear line path, with lots of drawing pleasure.

My problem is that I often have difficulties to choose. Despite my conviction that the Hergé style is the best to tell a story, I like it very much to let all the breaks loose and use a very loose line, with more panache, ough caricature and grotesque deformations. But I always return to the through doctrine (smiles).

BDM: Is there new work coming up that will correspond to the clean line? Or can we expect a new ‘Nino’ after all?

DS: Hec Leemans has been working on a new ‘Nino’ for quite some time, so it’s excluded I will do that. But the clear line is entering my work more and more recently in the other things I do. In ‘Mieleke Melleke Mol’ for instance; and in the more recent ‘Pakkeman en Poulet’ episodes, that was already clearly noticeable. If I would start with something new at this moment, it would clearly go into that direction.

BDM: Can you exploit that clear line urge at the Studio Vandersteen?

DS: In the Spike and Suzy album “Suske de Rat”, for which I worked on the pencil work – with exception of the scenery – it was already very noticeable to my feeling. Maybe it didn’t show all that much to the reader because the inking by Eric De Rop is more flexible and less ‘dry’, but the basis there clearly was the clear line.

BDM: What memories do you have from Bob de Moor?

DS: I first got acquainted with the work of Bob de Moor with his work for the weekly Tintin, which I bought every now and then back in the early 60s. Apart from that there were also the first “Nonkel Zigomar, Snoe en Snolleke” albums which were published in a very attractive big format and which – typically for the Flemish comics from that era – were printed on newspaper paper, alternately with a red and blue line.

I first met him in 1989, when Hec and I went presenting the ‘Nino’ comic to Le Lombard, where Bob de Moor was then the artistic director. I remember him just like everyone else who knew him, as an amiable, affable person, with absolutely no airs and graces. I met him only 3 or 4 times, and since I’m not really all that sociable and since there were always other people around doing the talking, I don’t really recall having had a very interesting chat. I do remember a roaring laugh. I once called him when I was young at the Studios Hergé. I was – and still am – a real material fetishist and I asked him with what kind of brand of East-Indian ink he worked. I probably though that once I had the same ink, that I could draw as good as he did. “It’s Pelikan” he answered gently without telling me to go to hell.

BDM: A lot of your current work leans towards the more grotesque nonsense way of working that was typical for Bob. ‘Pakkeman en Poulet’ for instance have a lot in common with for instance the “Barelli’ series where style changes throughout the stories were also typical. Or am I wrong?

DS: I suspect that Bob had the same ‘problem’ like I had: not being able to really choose between all those styles and then just regularly do digressions. But I’m not sure, I only met him a few times. The nonsens in my comics are more inspired by Marc Sleen I think. His work has been very influential, more than that of any other artist.

BDM: For the celebration of the 50th album for Tibet’s ‘Ric Hochet’ you sketched a 2-plate cartoon together with Bob de Moor. Can you remember how that collaboration started? (Editor’s note: the drawings can be seen right here)

DS: I can’t remember really well how that collaboration started. Nowadays it would be simple, Bob would draw his part and then mail it to me, after which I would add my drawings digitally. But back then that wasn’t possible. I do remember that he was the first one to draw his part of the cartoon – on the foreground – after which I added the rest on a separate sheet probably.

BDM: Have you never been asked to collaborate for other projects?

DS: We have never talked about a possible further collaboration, no. You have to realize that this took place shortly before he got ill and passed away if I remember well. I think he also had an assistant by then (editor’s note: Geert De Sutter).

BDM: It’s quite remarkable that artists who have know him, often tell how Bob never got the recognition he deserved. What’s your take on that?

DS: At a certain moment, in 1950 I think, he made a choice that influenced the rest of his life. It resulted in the fact that he never would have an own ‘big’ career. ‘Big’ as in the careers that people like Marc Sleen, Hergé and Willy Vandersteen had. He more or less chose to live in the shadow by choosing to work for the Hergé Studios. Combining that job with an own oeuvre as massive as that of Sleen, Vandersteen or Nys was just impossible. I guess he knew that really well back then.

We can only guess what could have happened otherwise. Maybe there would have been a Studio de Moor with a huge output of ‘Nonkel Zigomar, Snoe en Snolleke’, ‘Barelli’, ‘Cori’, ‘Balthazar’ albums, who knows. I don’t think he was the kind of person to put himself in the picture. That doesn’t prevent me from thinking that there should indeed be way more attention for his work than what is the case now. Without any doubt.

BDM: Bob phoned you once to say that there was something wrong with a ‘Nino’ drawing of the Brooklyn Bridge in New York in part 2 “De prinses van Manhattan”, page 11 (plate 9), the second strip? What had happened?

DS: I drew the Brooklyn Bridge and it was quite difficult and complicated, and in the abundance of crossing lines I had forgotten a part of the bridge. But it clearly was an error that had to be corrected. Bob, being the artistic director, called me and asked me indeed in a very humble tone, if perhaps pretty please, potentially, if I would want and if it wasn’t too much asked, to add that missing part. And I stood there on the phone, almost saluting (laughs)!

BDM: As you probably know, there is a chance that the uncompleted Tintin album “Thermozéro” will be released after all, albeit in an Alph-Art-esque way. Doesn’t it itch a bit to complete one page? Since Moulinsart wants to release a new Tintin album before 2052, you might just want to take the bait?

10152555_641043249278834_1486566291_nDS: 2052 ? I better get started right now, because I work rather slowly these days. I don’t know. I once declined the offer to draw the new Blake and Mortimer. It’s actually one of the reasons why I am so ‘famous’. The man who didn’t draw Blake and Mortimer! I declined the offer, because of what I would call a cowardly fear of failure. The whole world is then watching what you do, ready to slaughter you with every line you draw. With Tintin I guess it would be even worse. Maybe I have to look up my ‘Sikje’ again, the character that I once drew in the background of a ‘Plankgas en Plastronneke’ episode. I’d be more at ease doing that!

Ric Hochet cartoon co-created by Bob de Moor and Dirk Stallaert

1016577_638367342879758_1790775349_n 10003119_638367459546413_1224091037_nHere’s a Ric Hochet anniversary cartoon on which Bob de Moor collaborated with that other flemish multi-talented artist Dirk Stallaert. The cartoon features scenarist A.-P. Duchâteau and Tibet next to a whole string of cartoon characters all drawn by Stallaert (who with Nino already has shown he is perfectly able to complete the Alph-Art album in a perfect Hergé/de Moor way… but that’s another discussion).