In the archives of the family De Moor we stumbled on a drawing Bob De Moor made for the Studios Hergé (Publiart to be precise) and it shows Captain Haddock, Tintin and Snowy on a boat. Tintin is pointing to a star on the horizon – which is in reality a pint of beer from the Stella Artois brand – and shouts “Stella à babord” which stands for “Stella on the port bow!” The reason why Tintin is referring to Stella and not Stella Artois is because Stella Artois is informally often called Stella. Good to know, stella is also the Latin and Italian word for “star”.
The drawing was according to us never used, at least we couldn’t find back any finalised publicity that represents this drawing. In case you have seen this before, contacts us please.
For the non beer fanatics, a Stella is a pilsner beer of between 4.8 and 5.2% ABV (Alcohol by volume). It has been brewed in Leuven, Belgium, since 1926, although it is being brewed in other locations as well now. A lower alcohol content (4% ABV) version is also sold in the UK, Republic of Ireland, Canada and New Zealand and actually tastes different due to this; Belgians often refer to this version as being dishwater. Stella Artois is one of the prominent brands of Anheuser-Busch InBev, the world’s largest brewer.
To end the year in beauty, we’re offering you a Christmas/New Year’s cartoon which Bob De Moor made for Publiart on December 28th 1953. The original drawing comes from the collection of Olivier Marin, which many will know as artist behind the albums / series “Les déesses de la route”, “Le mystère de la traction 22”, …
The drawing we present you here shows very well how Bob De Moor often reworked his original drawing to get it as perfect as possible. If you look closely, you’ll see that the drawing consists of no less than 3 layers, all glued one on top of the other to correct an inking, to correct a composition or to add a different background.
We have no idea in which Publiart publication this was published, if someone can give us a clue, please let us know!Brabant Strip published an article in their recent issue referring to this article. And luckily for you they did know where this drawing was used. As it happens the Belgian radio/television broadcast NIR/INR had started with a new section, namely ‘variété’. Nobody else but Bob De Moor – via Publiart – is asked to make a special Christmas/New Year card for the NIR/INR. The card was made both in dutch and french.
Brabant Strip will also publicise a correction in their next issue as they had wrongly assumed that Publiart was not involved in the making of this card. The back of the drawing however clearly has a Publiart reference and this despite the fact that the company was officially only created in July 1954… but Guy Dessicy told us a while back that Raymond Leblanc had already launched it way before that.
This is the last article for 2014, we wish you a Happy New Year and rest assured, 2015 will bring a lot more treasures from one of the best comic authors Belgium has known.
Each comic author has his/her very own way of drawing. When an author takes over an existing character(s) you’ll often notice this through the ‘signature’ way of drawing. In many cases the overall style changes quite suddenly (see for example the changes that happened to Willy Vandersteen’s Spike and Suzy each time a new comic author started working on the main sketches or Spirou and Fantasio); in other cases the changes can only be seen when you really pay a lot of attention to the details (see for instance the new Asterix albums which graphically are extremely close to the original Uderzo drawings).
Unlike most predominantly Belgian studios, the Studio Hergé was known to never let things go ‘out of control’. Even though several artists worked on the same album, the basic rule was that it should not be noticeable. It explains why for instance the cars, planes, boats, decors and even the telephones have a similar drawing style in a Tintin album although they were all drawn by different people. Nevertheless, from time to time you can see a detail that will tell you who drew what.
Today we present you a puzzle poster which was published in 1972/1973 by Publiart/E.M.A.D. for an Ola ‘Cornetto’ ice-cream campaign. For those wondering what E.M.A.D. stands for, it’s short for European Marketing Advertising, an agency created by Guy Dessicy, which aimed at running campaigns on an international level. While we all know that Bob De Moor took care of the poster on the puzzle, you can also discover that Bob De Moor did draw Captain Haddock for this advert. How? Check Haddock’s right hand. If you look closely you’ll see quite a resemblance with another right hand…
In the series of Fruit d’Or adverts which Bob De Moor completed for Publiart/Studios Hergé, today let’s check out one particular advert featuring Professor Calculus hovering in the air with a hamper of poultry in his left hand and a Fruit d’Or margarine/a cooking butter boat in his right hand (from the perspective of the professor, that is).
The second advert can be seen here on the left. You notice a lot of differences between the two drawings, although on the first sight they seem very similar.
We unfortunately have no exact date as when or in which magazine these ads were found. In case you have these adverts on print, please contact us.
To give you a first clue, check these 2 videos and pay attention to the woman…
So, let’s dig a bit deeper into the differences of the drawings. We’ll take the margarine version as a starting point and list all the differences:
the basket with poultry that Professor Calculus is holding in this version has 2 extra animals: a pigeon and a duck,
the margarine boat is drawn in this version,
there are extra movement lines under the head of Professor Calculus, under his elbow and under both his feet,
you also see the extra movement lines around the poultry and the basket itself,
an extra duck is added on the left of the already present goose,
the bushes on the left of the professor are bigger,
the colds are more evenly spread removing the bigger cloud behind the the professor and adding a few smaller ones,
if you look at the house you’ll see and extra shutter on the ground floor window plus a few extra visible bricks in the wall,
the biggest change however is the housewife which in this version is a peasant wife with different clothing, different haircut and colour,
on the left of the peasant woman you see a prong stuck in a small dung hill,
overall there has been a different colouring done making this version more vivid. But better scans would help of course to see the complete difference.
It’s our guess, but we can be wrong, that the margarine version was the final version due to its more elaborated decors and drawings. However, it could also have been directed at different audiences. If we could nail a date on the TV spots we’d have a better idea. Sure thing is that the peasant woman was drawn for instance in 1983 (see the date on the drawing) by Bob De Moor for a character study by the Belvision team as you can see on the left.
In late 1979 the Studio Hergé (or better, Publiart) accepted an advert proposal from the dutch raincoat maker AGU. Under the Kangourak Salik brand several of the characters from the Tintin comic books were adapted for use in publicity items released in 1980 such as stickers, posters etc.. 7 8 stickers were produced (you can see them below). The drawings were first test drawn by collaborators from the studio, and after approval by Hergé, a final drawing of each creation was made by Bob De Moor, by then artistic director for the studio.
Whereas there are test drawings that exist which show Tintin out of his normal habitat, in the end the studio opted for choosing drawings from albums which were then reinterpreted. In the example here we see Captain Haddock in an adapted scene from page 43 (case 9) from the 1949 Tintin album “Prisoners of the Sun”. As you can see, De Moor completely redrew the case and put Haddock in a Kangourak Salik raincoat (notice the S on the zipper). The design here has often been exchanged online as being from Hergé, whereas it was a Bob De Moor drawing for sure.
On the left you can see an advert for the Kangourak Salik raincoat. We had one and it’s almost sure that if you are from Belgium or Holland that you also had one when being young, especially in the early ’80s.
It’s our guess that the two sons Peter en Jaap jr. Van den Kommer from AGU were behind this idea. In 1976 they succeeded Van den Kommer sr. and the same year they were awarded a price for the best rainsuit. Even the Royal family started wearing AGU. In 1980 AGU introduced the raincoat for cycling which became a big succes. Ever since the brand has been quite active in sport sponsoring.
On a side note, these commercial sidesteps by the Studio Hergé were often quite elaborated and involved quite some work for Bob De Moor as will be shown in later posts.