Update 24: 07/08/2017 Tribute to Moebius new adds:
This is our interview to Peter Nuyten:
Peter Nuyten:
Heir of the best western tradition.
Heir of the best western tradition.
We are honored to present in this web one of the most brilliant creators of westerns in our times...mister Peter Nuyten.
Peter Nuyten
Peter Nuyten studied graphic design between 1988 and 1992, and then decided to go freelance. In the 90's he was a member of Studio Iris in Nijmegen and published his first comic, Arak, in the magazine of the same name. Besides, he works as an illustrator for educational books, children's books and also for publications of apache junction historical themes.
He as also worked for Studio Jan Kruis for the title Jan, Jans en de Kinderen for the Libelle magazine. When the studio closed in 2007, he decided it was time to go on his own and published the historical comic Auguria in 2010. Only a year later, Nuyten dazzled the fans of the European comic with Apache Junction.
He as also worked for Studio Jan Kruis for the title Jan, Jans en de Kinderen for the Libelle magazine. When the studio closed in 2007, he decided it was time to go on his own and published the historical comic Auguria in 2010. Only a year later, Nuyten dazzled the fans of the European comic with Apache Junction.
Apache Junction by Peter Nuyten
It is not crazy
to compare his work in Apache Junction with those magical westerns of
Charlier and Giraud, those who showed us the first indian wars. Apache
junction brings to readers a fresh style keeping a subtle classical touch, set circa 1875 in the Arizona desert after Cochise's death and starring Roy Clinton, a U.S. Army courier with indian blood in his veins, and respected among the apache community.
This is our interview to Peter Nuyten:
- The Blueberry Encyclopaedia (TBE): What has your biggest artistic influence in the beginning of your artistic life?
As far as illustrations concerned, I must go back in memory because there are many influences which already started off long time ago somewhere in my youth. At my eldery home but also at primary school there always were a lot of colourful books to look in. So during my early youth I found the work of many old school illustrators from the US, UK, Spain and Italy very interesting. For example the illustrators who publish their work in Look and Learn magazine (in the Netherlands republished in the magazine Kijk), National Geographic, Osprey books. But also the artwork of the awesome new impressionists during the Fin de Siecle and in the Post modern period, mainly those from the US and Russia. Especially the ones who produced for the advertising industry in the US etc.. All of it are also a major influence in my professional live.
Further there are of course also the artists from the medeaval period, the Golden Age, mostly the Dutch painters. In my young days I loved to draw and I was impressed by the work of Hannah Barbera studio, like the Flintstones and what have you. More than Walt Disney though. But from Disney I liked the most the old Donald Duck movies and in a precise matter I loved the backgrounds, the scenery. Later when the Disney studios began to change there style during the sixties I liked it even more but stylistic Hanna Barbera was for me more “to the ground”, a simple graphic way of drawing and for all colouring. Also the work of Warner Brothers. Like Silvester and Bugs Bunny. In the early 70-ties I loved to watch movies like science fiction, war movies, animation but also westerns, and I read a lot basic westerns strips, for the most drawed by Italian and Spanish artists.
Somewhere in the early 70-ies, when I was on primary school a friend of mine brought a, for me, unknown comic with him. Drawn in the way I found a western must be drawn; which catch the atmosphere from a western movie. I think I was about 10 years old. The book was drawn by Giraud and I remember that a was impressed by the cover drawing and I decided to ask my mum to buy all what is know from this comic series. As happened after that...
Apache Junction by Peter Nuyten
- TBE: and now, which artists do you respect the most?
Ah, to many names to mention but I respect still love the comic work of Giraud on top but important for me are also the comics of artists like Rossi, Jippes, Kresse, Uderzo, Peyo, Roba, Franquin, Pellerin, Don Lawrence, Rocca, Jijé, Martin, Caniff, Mitton, Rouge, Kubert, Windsor-Smith, Stan Lee, Wood, Toth, Krenkel, Foster, Frazetta, Joe Jusko, Teng, Victor de la Fuente and a couple more.
Some new comic artists of today I also respect but I am not influenced by are for example Alex Ross and Greg Horn.
- TBE: What do you prefer to work in: comic books, storyboards, animation, movies, advertising....?
I did a lot of educational and/ or historical, informative illustrations, and children’s books. The most I like non conventional work of course. That means mostly, for me that I love to draw stories, for illustrated books and comics. In answer to your question I would prefer from your line up comic book, and on the second place storyboarding..
Apache Junction by Peter Nuyten
- TBE: What is your favorite drawing and coloring technique?
Pencil and inking and gouache coloring. These 3 I like the most. I do not know why.
- TBE: What do you think of digital comic books...is the comic industry in danger / crisis with the menace of pirate downloads?
Hmm, good question.
Let me say that I do not believe that digital books are or will be on the winning side. After all a direct high quality print is still far more better than an indirect image built on electric light. And, if your power fell down you can not read your comic.
Concerning to the “menace” of illegal downloadings and dangerous liasons with some obscure (digital) publishing possibilities: if this will overshadow the excisting reliable exploitation of books I will terminate immediately my work. Because it will effects my motivation to produce and to share my ideas, stories and images to everyone. I can not understand that people do that, without the mention that al the artwork is produced with blood sweat and tears, excactly like all other work or jobs in society do and which are all payed for. I must live of my work. There is no other way around. I mean if I can not produce society will loose again an artist who loved to share his work to the world.
Par example: what if I digiprint my daily bread, and even worser, sell it illegaly? Bakeries and supermarkets will loss eventualy their income if society refuses to protect their legal rights. Right? So, artwork must be respected in the same manner, though illegal copying is as old as the road to Rome.
If we loose our rights of athorship we will loose our dignity and honour of being a respected artist. Then I will quit. That’s for sure. Look at the music industry. How many work is copied in the last couple of decades which also is illegal exploited? Although it did effected the industry negatively it also changed the way how music is provided further in a more positive way. For instance I mean what companies like Spotify did, Sonos and Itunes and many others. Eventualy the same “kind of” will happen to comics and other illustrated books, I think. But there is some more to say around this all and what is also happening due to the the digital effect on all things around us in society. The digital highway forced the conventional tradition of exploitation of books to change. No doubt about that. With the result of that the excisting publishers are dealing with new little competitive publishers. That’s healthy, right.
But some of them do not respect the rights of athorship and unfortuantely profit only from artists who work very hard for it. But not everyone is capable or aware to see that clear enough. I mean first time starting artists who are offered dubious proposals and non-respected promises, sometimes even to senior artists as well. I see that happen around me and I can speak also from experience. And with the arriving of the digital exploitation the bear was freed from its cage. It is a known negative effect which occure with changes in society overall. That’s why I proclaim that we also, as an professional artist, must keep protect the author- and exploitation rights world wide!
- TBE: How can this affect the work of artists?
You mean if digital win the game? Well, on which way the wheel is spinning, I think it doesn’t left any effect on artists because they like to draw (besides the economic consequences which do effect). On which medium their work will manifest is basicely not important but more or less lead by you feelings. For me it is important that my work is reproduced. Personaly, for me I like conventional media above the digital the most.
If we loose our rights of athorship we will loose our dignity and honour of being a respected artist. Then I will quit. That’s for sure. Look at the music industry. How many work is copied in the last couple of decades which also is illegal exploited? Although it did effected the industry negatively it also changed the way how music is provided further in a more positive way. For instance I mean what companies like Spotify did, Sonos and Itunes and many others. Eventualy the same “kind of” will happen to comics and other illustrated books, I think. But there is some more to say around this all and what is also happening due to the the digital effect on all things around us in society. The digital highway forced the conventional tradition of exploitation of books to change. No doubt about that. With the result of that the excisting publishers are dealing with new little competitive publishers. That’s healthy, right.
But some of them do not respect the rights of athorship and unfortuantely profit only from artists who work very hard for it. But not everyone is capable or aware to see that clear enough. I mean first time starting artists who are offered dubious proposals and non-respected promises, sometimes even to senior artists as well. I see that happen around me and I can speak also from experience. And with the arriving of the digital exploitation the bear was freed from its cage. It is a known negative effect which occure with changes in society overall. That’s why I proclaim that we also, as an professional artist, must keep protect the author- and exploitation rights world wide!
- TBE: How can this affect the work of artists?
You mean if digital win the game? Well, on which way the wheel is spinning, I think it doesn’t left any effect on artists because they like to draw (besides the economic consequences which do effect). On which medium their work will manifest is basicely not important but more or less lead by you feelings. For me it is important that my work is reproduced. Personaly, for me I like conventional media above the digital the most.
- TBE: What can you tell us about your current job, and/or any clues to your upcoming projects?
At the moment I work on the end of the Auguria trilogy. An adventure epic playing in the first century, roman times.
After that I will begin to work on a new big, international project which I cannot and may not say nothing more at this moment…
The only memory I have which is always left in my mind is the moment, I was around 10 years old when I discovered the two book epic of the la mine de l'allemand perdu and Le Spectre aux balles d'or of Blueberry written by Charlier and drawn by Giraud. In my opinion the best comic western ever made in the history of realistic comic making.
Auguria by Peter Nuyten
- TBE: What are your memories / relationship / influences with Jean Giraud and their artworks?
Peter, it has been a real pleasure to have you taking part in this tribute and also letting us explore your work. We will look forward to follow your next work, no doubt it'll be magnificent. Thank you very much.
