Paul Borchers

Studio Info —

Paul Borchers is the illustrator and artist also known as YobKiss. 



Client List —


Rough Trade

David Jones

Mens Health

HQ Assia

Jet Star

Brookfield London

Avant Garde Men

NAI Rotterdam

Vision Youth Beijing

Science Works Melbourn

Martin Garrix

Demon Music Group

The Kitchens Australia

Het Parool Amsterdam

De Pers Amsterdam

Carp Amsterdam

JWT Amsterdam

The Escape Pod Chicago

Frame Copenhagen

Antenna-men Rotterdam



Paul Borchers (1976) graduated from the Willem De Kooning Academie in 2001 and got naturally accepted into the art world with the Antistrot collective that he co founded in 1996. His drawing style is inpired by vintage comics and so-called “goru”, which comes from artists obsessed with ghost stories and the macabre. Shigeru Mizuki, Suehiro Maruo, Shintaro Kago are some of those.

Paul’s preference for painting is Indian ink. Nevertheless Paul combines his manual skills with digital possibilties the Wacom Cintiq provides. Imperfections add charm and character to a drawing. In the sometimes overwhelming world of digital designs and illustrations these manual skills retain their expressiveness.

At many stages in his life Paul wanted to dedicate time on a graphic novel. Ideas were formed but never materialized. His recent work on his graphic novel, “Flying Mau Cat” came together by giving a twist on his personal live. The choice to use cats as characters was more by accident than by design. After he made a drawing of a cat wearing wings he felt that the cat had a almost human expression and created with his partner a group of characters playing the roles of their own short comings and struggles in life.

After leaving Rotterdam in 2009 Paul has lived in Melbourne and London for a good time.


Representation —

California: Deborah Ayerst
Australia: Illustration Room

Terms and Conditions

1) All costs provided exclude TAX where applicable and are valid for thirty days from the date of the quotation.

2) The costs provided when quoting are guide prices based upon what we anticipate the creative, time and production requirements to be based on previous experience and on typical processes, plus client co-operation in provision of content, meeting deadlines and approval. Within reason, additional charges may be payable if there are significant variations to this, although the client would be made aware of this well in advance. Charges are unlikely to deviate from those quoted unless requirements change significantly.

3) No creative or development work will commence until the studio has received written approval of the quotation (by hand or by email). On jobs that have a production time over 31 days, a minimum deposit of 50% of the agreed costs has to be received by the studio (unless otherwise agreed in writing). This ensures that the studio is fully equipped to provide the very highest levels of service and expertise, from project inception through to completion. This also applies if a project is delivered in ‘stages’, whereby a deposit will be required before proceeding to each new stage.

4) Unless otherwise agreed in writing, the balance of payment will be due in full on project completion (e.g on delivery of printed items, publishing of digital files etc): failure to make final payment at this point may result in delays in project delivery.
5) If a quotation has been provided where a job will be approached in ‘stages’, each stage will need to be paid in full on completion of each stage, before the studio is able to progress to the next stage. Where a job has been quoted in two halves (initial 50% deposit and final 50% balance) the balance of payment may be charged in full either on completion of the project or over a number of further staged payments at the discretion of the studio.
6) If any project exceeds the estimated timeline agreed or extends beyond twelve weeks from approval of quotation (whichever occurs first), the studio reserves the right to invoice 25% of any outstanding balance, with the remaining 25% payable on completion.
7) Paint and production costs for murals, any other printing, fulfilment, mailing or third-party services that are provided by the studio will require a minimum up-front payment of 75% (possibly higher in relation to value) of the agreed cost (this figure will be at the discretion of the studio and may in some cases be as much as 100%). Please note that the studio will be unable to proceed to this stage without receipt of or proof of this payment.
8) Unless otherwise stated above or previously agreed in writing with a agency representing the Paul Börchers Studio, all invoices are due within 7 days of any invoice date. Please note points number 3, 4, 5 and 7 above and how this could have an impact on time scales.
9) Unless otherwise agreed in writing, work will usually commence within five working days after approval. Any anticipated completion date provided by the studio is subject to options chosen and client co-operation in provision of information, resource (logos, images etc) and approval. The studio will do its very best to ensure that agreed timelines are adhered to, but please be aware that circumstances, amends requested, or additional requirements may potentially result in delays. Time lines provided are estimated but the studio will not be held liable if the project over-runs due to delays caused by the client passing information or approval, or any third party issues or force majeure (act of God).
10) Costs provided allow for presentation of a minimum of two creative options per brief for the client to choose from. In the unlikely event that the client is not satisfied with the first round of presented work, the studio will develop a further round of additional creative development and presentation. If after this third round there is still no agreement on direction, the studio reserves the right to potentially bring to an end any agreement with the client, charge the client for the drafts or storyboard with no refund of deposit or payments made previously. 
11) Costs provided allow for a maximum of three sets of client amends after which time additional charges may become payable, although the client would be made aware of this in advance.
12) At the end of each stage of the process (including – but not limited to – before sending an item to print or publishing a animation etc) the client will need to ‘sign-off’ their approval either in person or by email. No further development can be undertaken until the studio is in receipt of written approval confirmation. Any amends to work after signed approved may incur additional charges for further time spent, although the client would be made aware of this in advance.
13) Costs provided allow for occasional meetings at key stages for a reasonable length of time between the studio, the agency representing and the client. In some cases meetings may incur additional charges for time spent, although the client would be made aware of this in advance.
14) Unless otherwise agreed in writing, projects are subject to a ‘standard disbursement charge’ to cover anticipated costs for rendering from a render farm for complex or time consuming animations, in-house colour printing, travel, postage etc. The client will be made aware in advance if a animation requires a render farm.
15) The client will be able to decline the use of a render farm on time consuming animation jobs. By declining the usage of a render farm the client agrees on extending the deadline. 
16) When needed, the studio works closely with other illustrators, animators, film makers and other relevant partners to provide an extensive high-quality service offering beyond immediate in-house capabilities.
17) Clients should be aware that due to a variety of factors there will often be variance in colours shown between in-house proofs, colours on screen, printer’s proofs, and final printed items. These factors are determined by the source of the print or visual (each output source e.g the studio printer, the client’s printer, the image setter, the monitor etc will differ from the other), the types of inks or makeup of colours (even Pantone colours can vary significantly and often surprisingly depending on what stock or substrate they are printed on), the type of print process (short-run digital, longer-run litho printing), the substrate (paper, card, plastic etc) used, individual preferences (ambient light, personal computer settings etc) and several other reasons. As a result of this the studio is unable to guarantee 100% consistency and accuracy of colour on all items and may not always be able to achieve the exact result expected by the client. In the case of printed items, the only true guide as to what is likely to be produced, is to request a ‘wet-proof’ on the actual intended substrate with the actual inks to be used, although this will incur additional cost. However as long as the client accepts there may be inconsistencies across work produced, this step may not be necessary. The studio does not accept any responsibility for colour variations as a result of these indeterminate factors.
18) The client only pays for the single usage of the provided illustrations. Full copyright and ownership of all original art work will reside with Paul Börchers Studio unless otherwise is agreed in writing with the agency representing Paul Börchers Studio. 
19) Paul Börchers Studio will never knowingly infringe any copyright or trademark and will deliver, to the best of knowledge, creative solutions that are original and unique to the studio. Unless otherwise agreed in writing, it is the responsibility of the client to ensure that no copyright or trademark has been infringed and to make their own application for copyright or trademark with the ‘Intellectual Property Office’ if required.
20) If requested, the studio will (at its discretion) provide the client with endartwork in its final form (e.g. print-ready PDF; HD movie file; PSD file etc). However the agency does not by default (and possibly without further charge) provide clients with original artwork or original project files (for example an After Effects file, layered Photoshop file or Clip Studio animation file) or any working or development files, rejected concepts and designs, images or documents generated throughout the project. Ownership and copyright of all unused or rejected files, documents and designs will reside with Paul Börchers Studio for non-exclusive future use.
21) Paul Börchers Studio will not at any time or in any manner, either directly or indirectly, use for our personal benefit or divulge, disclose or communicate in any manner any information that is proprietary to the client. We will act reasonably to protect such information and treat it as strictly confidential.
22) The client agrees to indemnify Paul Börchers Studio and keep the agency indemnified and hold the agency harmless from and against any claims, actions, proceedings, losses, liabilities, damages, costs, or expenses suffered or incurred in relation to work or services provided. The studio is not liable for any loss that may occur before, during or after the development of projects undertaken. The studio will not be held responsible for any delays, errors or losses arising from any third party.
23) The client agrees to alert the studio in writing to any defects or problems in relation to work and services provided, within 30 days of the final invoice date. The agency will not be liable for any claims made after this period.
24) Appropriate credit and acknowledgment for work produced by the studio should be attributed to Paul Börchers Studio where possible (for instance written in small text on the back of a printed item or in the description of a social media post) and may be referenced for the studio’s promotional purposes unless otherwise (in exceptional circumstances) prearranged with the client.
25) These terms and conditions of business supersede any previous versions and apply to all present and future projects unless otherwise agreed in writing. Paul Börchers Studio reserves the right to change or modify these terms at any stage with immediate effect. By agreeing to these terms, your statutory rights are not affected.