Since then, different European countries - Switzerland, Poland, the Netherlands - have taken the lead in poster design.
All the images - about 200, he thinks - have been sent to him on CD. "You can make the most beautiful annual report for a company, which is a very complicated thing to do, involving a lot of intellectual reflection and craftsmanship, but, you know . He shows me some of the images he has made over the years; there are certainly a great many cavities and protuberances among them but they all make you gasp.
He will evaluate them on screen and report back online. "I am experienced at looking at images but it is nice to have them around you, to feel the emotion from them," Beeke says. "In the street," he says, "they are hanging between all that nitty-gritty of 'buy this orange juice' and 'buy that shoe'. It has to scream louder than any of these advertisements.
The designer of magazines, books, logos, catalogues and posters, he is now also one of the international judges of the inaugural Melbourne Design Festival's 1st Australian Poster Annual competition. It must seduce you." Beeke has designed posters since the early 1960s.
Rather remarkably, he will do his judging right here. "It needs to be readable - not that the text needs to be bright but that the image has to tell you something. "In graphic design, the poster is absolutely the thing," he says. Unlike a corporate report, a poster shows the designer's hand.
It is not so much that the skills are different but the people are different to work with.
They are less serious; their agenda is to have a good lunch.
You have to disturb the way people are looking." He loves that his work is on the street, in the thick of things.
He loves the very cheapness of posters: right now, he enthuses, you could make a silk-screen on the table where we are having coffee and plaster it on billboards where it would zap people between the eyes and it would have cost nothing at all. That is a very superficial world and it is not my world.