How long have you been drawing? I have been drawing since I was very young. When my sister went to a college for nursery school teachers, I usually sat with her at the table and drew pictures while she was doing her homework. At that time I discovered the wondrous world of children and that has fascinated me ever since. When did you first know that you wanted to become an illustrator? I wanted to become a painter first, but felt that the art courses left me swimming, there was nothing concrete about it. Meanwhile I had discovered that graphic design was also a trade, and thought that I could employ my drawing talent there. In my second year at the Academy in Arhem, I had lessons in illustration from Yvonne Kroese and learned through her that you could earn a fairly decent living in doing just that: drawing. Even so, it did take another couple of years for me to finally quit graphic design all together and concentrate purely on illustration. Have you studied formally? What? Very varied ones. First of all I was sent to a technical school because I could work so well with my hands. That was not what I wanted though, and after the first introductory years, my teacher gave me lessons in drawing and art history during the last two years (in preparation for the more specialized art course). But it soon appeared that this training was not sufficient to pass the entrance exams for an art college. So I then followed a course in illustration at the Deva in Almelo (school for decorators and window-dressers). With this diploma I was allowed to start the evening course in graphic design at the College of Art in Arnhem (during these two years I had a daytime job at a children’s day center). During my second year there I had lessons in designing from Peter Blokland, who then asked me to come and work for him as a designer at his agency. At this time I also pursued my studies as a third year student at the Academy of Art in The Hague. From that time on, I have always worked. Who are your clients and how did they find you? I did a lot of acquisition during the first few years, visiting agencies with my portfolio under my arm. In that way I did get a number of loyal clients who still ask me to work for them on a regular basis. At least once a year I send out a mailing, when my studio has its “birthday” and usually that gives me some new work. Furthermore, I have a web site with my most recent work online and it often results in requests for illustrations. Most of the work I do is for all sorts of magazines and publishers of educational children’s books. Once your work has been published, people usually know where to find you.		How do you start a job and where do you seek inspiration? That depends on the commission. Usually the commission has been very clearly defined and it is just a matter of starting on it. Sometimes it is more complex and then I usually muck about some before I finally start on it. In that case, I need to do some orientating research beforehand. Then I leaf through all sorts of magazines and books in search of inspiration, sometimes I’ll make associative collages with pictures of all sorts of objects. Mostly it is a matter of setting the first lines on paper though, and with a bit of luck, the rest will follow of its own accord. When I develop new figures, I am usually inspired by people around me or by characters that I happen to see on the street. In what media do you prefer to work? I prefer working with acrylics and/or coloured pencil. I sketch all the illustrations in pencil first and then, depending on the budget and the deadline, I will develop them further on the computer. For some time now I also like to work with a scraper board and lino-cut. When is a drawing finished? Actually never, but usually one reaches a point when everything looks good, and then I stop. If the deadline allows it, I will put an illustration away and after a couple of days look at it again very critically. Sometimes I will change some minor details. What work have you been most satisfied with? With the most recent one. However, after a while I nevertheless see things that could’ve been improved. Actually I am never really completely satisfied. What kind of project would you still like to tackle? A picture book with 'Little Paul, the Farting Elephant'.
		sources of inspiration: 1] Dick Ket - Self portrait 1933 2] Max Velthuys - from 'Crocodile and his masterpiece' 1995 3] Co Westerik: 'Self portrait with muse' 1966 4] Yvonne Kroese: from 'Cooking with crow's-feet' 1993 portrait: selfportrait 2001 translation: Ellen van Boggelen-Heutink