ROTTERDAM THE NETHERLANDS
Welcome to my beautiful hometown Rotterdam. I am a versatile graphic professional, with passion, enthusiasm, experience and creativity.
Graphic design, illustration and desk-top-publishing are my specialties.
I have worked/work with renowned Dutch Advertising Agencies in (Rotterdam/Amsterdam), both full time and freelance. During the years (since 1999) I work as an independent Graphic Designer in Rotterdam-Centre. My home and studio are situated next to the St. Laurens church.
Check out this great drone movie of Rotterdam.
’Drop me a line’ firstname.lastname@example.org
In 1981 publiceerde Kamagurka een eenmalig langlopend stripverhaal, genaamd: Mijnheerke Plagiaat, in de Belgische krant Vooruit (later De Morgen). Aan het einde van zijn verhaal besloot het strippersonage Mijnheerke Plagiaat zelf een stripfiguur te bedenken. Hij noemde deze figuur “Cowboy Henk, in tegenstelling tot Zorro”. Op 24 september 1981
verscheen zo de eerste gag rond Cowboy Henk. Kamagurka bedacht de grappen en dialogen, terwijl zijn vriend, Herr Seele, de verhalen tekende.
Oorspronkelijk verscheen Cowboy Henk in zwart-wit en in korte gags van amper 4 tot 6 prentjes per aflevering. Af en toe beleefde Cowboy Henk ook wel eens langlopende vervolgverhalen. De Morgen ontving na een tijd veel kwade lezersbrieven waarin mensen vooral over de humor klaagden. Van 1982 tot 2011 verscheen de stripreeks in Vlaanderen exclusief in het blad Humo, waarin wekelijks een gagpagina rond het personage werd gepubliceerd. In het buitenland kan men de reeks ook lezen in L’ Echo des Savannes en Raw, en in landen als Frankrijk, Engeland, de Verenigde Staten van Amerika, Spanje en Nederland.
In de komische televisiereeksen Lava en Johnnywood (1989-1990) met
Kamagurka en Herr Seele waren af en toe korte tekenfilmpjes rond Cowboy Henk te zien, ingesproken door Herr Seele. Ook speelde Herr Seele af en toe Cowboy Henk (met een gele kuif op zijn kale hoofd), terwijl Kamagurka aan de kijkers diens bizarre avonturen vertelde. In Kama en Seeles radioprogramma’s, zoals Studio Kafka, werd zijn avonturen ook af en toe verteld.
Cowboy Henk was jarenlang een van de mascottes van Humo en stond op menige cover. Eind oktober 2011 verdween Cowboy Henk haast geruisloos uit het blad. Volgens de redactie van kreeg de cartoon geen reacties meer, ook niet na beëindiging van de wekelijkse plaatsing. De stripreeks werd van 2011 tot 2012 tijdelijk vervangen door de zwart-witstrip “Dikke Billie Walter”, eveneens van de hand van Kamagurka en Herr Seele. Uiteindelijk werd ook deze reeks afgevoerd.
Op 10 april 2013 werd, in het radio-journaal van Studio Brussel om 17 uur, aangekondigd dat Cowboy Henk binnenkort opnieuw zou verschijnen in Humo. Dit werd genoteerd uit de mond van Herr Seele, die dit verklaarde in Frankrijk, waar op dat moment een tentoonstelling loopt over Cowboy Henk. Het personage keerde terug, eerst in de vorm van cartoons die een ganse pagina bestreken en inpikten op de actualiteit, vanaf september 2013 ook in de vorm van een vervolgreeks die op humoristische wijze de geschiedenis van België vertelt.
In 2014 won de reeks op het Internationaal stripfestival van Angoulême
de Prix du Patrimoine. Cowboy Henk won de prijs naar aanleiding van het compilatiealbum dat is verschenen.
Edward Hopper was born in 1882, in New York, into a middle class family, which encouraged the art work and career that he wanted to pursue.
From 1900 to 1906 he studied at the NY School of Art, and while in school, shifted from illustration to works of fine art. Upon completing his schooling, he worked as an illustrator for a short period of time; once this career path ended, he made three international trips, which had a great influence on the future of his work, and the type of art he would engage
in during the course of his career. He made three trips to Europe between 1906 and 1910. In retrospect, Europe meant France, and more specifically, Paris, for Edward Hopper. This city, its architecture, light, and art tradition, decisively affected his development.
When he arrived in 1906, Paris was the artistic center of the Western world; no other city was as important for the development of modern art. The move toward abstract painting was already underway; Cubism had begun. There, in 1907, Picasso painted his legendary Les Demoiselles d’Avignon. Hopper, however, later maintained that when he was in Paris he never heard of Picasso, who was to become so important for the develop-
ment of modern literature. For Hopper, the encounter with Impressionism was decisive. The light in these paintings and the thematic treatment of architecture and nature particularly attracted him and were to influence all of his work. His reaction to the Impressionists is directly reflected in his own art. He forgot the dark, Old Master-like interiors of his New York student days, when he was influenced mainly by the great European artists; Vincent van Gogh, Francisco Goya, Caravaggio, El Greco, and Diego Velazquez. The influence of Impressionists, like Paul Cezanne, Claude Monet, Edouard Manet, is directly reflected in his own art. His palette lit up and he began to paint with light and quick strokes. Even in 1962, he could say, “I think I’m still an Impressionist.”
Robert Frank provided the cover photo Tattoo Parlor for Exile on Main Street by The Rolling Stones. He had gained some notoriety with his 1959 book of candid photographs of life in the United States entitled The Americans. The book was not well received at the time of its publication, but its reputation has grown immensely over the years. In his book 1959: The Year Everything Changed, Fred Kaplan points to the publication of The Americans as being a key event in a year when so many cultural conventions were being challenged. Jack Kerouac wrote the introduction to The Americans, as the book shared a sensibility with the Beat genera-
tion, not to mention that Robert Frank had compiled his photographs through a long road trip across the United States. For the 50th anniversary of the publication of The Americans, the book was reprinted in a Deluxe Edition. An exhibit of Robert Frank’s photography called Looking In: Robert Frank’s The Americans was held at the National Gallery of Art, the San Francisco Museum of Modern Art and the Metropolitan Museum of Art in honor of the 50th anniversary of the book.
After The Americans was published, Robert Frank focused primarily on filmmaking. He had made a number of films before turning his camera on the Rolling Stones in 1972. Robert Frank explained his relationship with
the Rolling Stones in this way,
I made a record cover for them, and Mick Jagger sort of liked me. They called me up in Nova Scotia. I said to them, “That’s the camera I want. ”They bought the camera, and they said, “You do the film”. There was never any more talk about it. I just got paid, and they let me do whatever
I wanted to, but it was the agreement that I would finish and give them
the film. They have the say whether it’s going to come out or not.
Although Mick Jagger reportedly liked Cocksucker Blues, The Rolling Stones blocked the release of the film. Perhaps it was because The Rolling Stones were shown engaging in a range of illegal activity in the movie,
or perhaps it was because the film captured the alienation and isolation
of the band so effectively. Whatever the reason, the dispute between the Rolling Stones and Robert Frank was resolved with a rather odd court ruling: Cocksucker Blues can only be shown when the director is in attendance. Given practical considerations, this ruling served as an effective ban on the film.
ART OF MODERN ROCK
Art of modern rock, the poster explosion is the first and last word on the finest rock concert posters of the past fifteen years, a period of unprece-
dented explosion in poster-making activity for both the biggest names in rock as well as the most highly regarded new rock acts, read what the Library Journal has to say about it here. A massive 11″ x 13″, 492 – page book, this long-anticipated sequel to rock historian Paul Grushkin’s Art of Rock, posters from Presley to Punk, considered the bible of rock poster
art worldwide, is the must-have book for rock music fans and poster collectors. Art of modern rock showcases the work of scores of modern pop-art masters, including Frank Kozik, Derek Hess, Lindsey Kuhn, Mark Arminski, Firehouse, Emek, Jermaine Rogers, Justin Hampton, Jeff Kleinsmith, Drowning Creek, Hatch Show Print, The Ames Brothers, Scrojo, and over 300 others from all over the world. This spectacular work includes eye-opening posters for rock’s greatest bands (Rolling Stones, Phish, Metallica) and the most exciting new bands (Queens of the Stone Age, White Stripes, The Strokes) on tour and at key gigs. Modern rock posters, while wildly individual, encompass cutting-edge stylistic approaches and a daring, often controversial use of imagery. Authors Paul Grushkin and Dennis King, two of rock’s premier historians and experts on rock & roll art, gathered the posters from over 8.000 submissions worldwide, and provide critical overview and augmented, detailed profiles of the artists as well as commentary on key works. They have dug up spectacular treasures, and persuaded prominent artists to allow their best and most sought-after works-including the great limited-run screenprints-to be included. Art of modern rock is a bona fide publishing event.
“The book is insanely nice. It’s KICKASS.” – Frank Kozik
Paul Grushkin, who has spent 25 years as head of sales for the largest rock & roll merchandising companies (Winterland, Sony Signatures), authored the immense Art of rock, which is the standard work worldwide on rock posters. He is the co-author, with Joel Selvin, of treasures of the hard rock café, and with Cynthia Bassett and Jonas Grushkin, of Grateful dead: the official book of the dead heads.
Dennis King is an internationally recognized authority on contemporary posters; rock & roll posters, graphics, and screenprints, and Japanese popculture artifacts. He maintains one of the largest private poster collec-
tions in the world. King operates the D. King Gallery in Berkeley, CA, which services an extensive poster-related website at www.dking-gallery.com, and sponsors the highly respected informational site rockpostercollector.com.
Wayne Coyne, founder and lead singer of The Flaming Lips, authored the preface to Art of modern rock. The band has excelled in modern, alternative rock for nearly 20 years. The Flaming Lips was founded in 1983. The band plans to release a feature-length film, “Christmas on Mars” later this year. Noted Coyne in his preface, “Rock posters have hypnotic powers. Maybe it’s the different dimensions of the lettering, or maybe it’s the colors the artists use, or maybe it’s because of some strange, unintentional miracle in their design, but I’ve believed in them and have wanted to leap (into their world) and infuse myself with them. In some respects the birth of what would end up being The Flaming Lips was conceived in those moments. Not by the posters alone, but by seeing first hand-like the posters-how one could self-create oneself.”
Published by Chronicle Books December 1, 2004