Going back to your first post: yes, Ziche, Lavoradori, Intini, Mottura, Celoni, Limido, Gervasio started their career with a certain degree of similarity to Cavazzano, as almost every Italian (obviously: they were kids learning to draw by copying Cavazzano's stories, not Barks's or Rota's or even Scarpa's!)
Not to forget Mastantuono, Coppola, Pennati, Vian and Ongaro... hell, even Bancells seemed to copy Cavazzano at times!
(Speaking of Bancells, Flemming Andersen, Fecchi, Pasquale etc. - it's true that Egmont didn't seem to interfere with their 3-tiered stories as much. Fecchi even confirmed this because when he drew a 4-tiered story he was asked to draw "more Barksian". However, while this was good for the art, it often wasn't so good for the plots, which often were downright horrible as I'm sure I've mentioned before.)
(Also, this was only true for Duck stories. The 3-tiered short-trousered Mickey stories really looked as if they were all drawn by the same person. No artistic expression whatsoever.)
Nah. There have always been artists of a different style. Carpi, Chierchini, Scala, Bottaro, Asteriti, to mention a few. And I really preferred when Mottura drew more "normal" - I don't like his modern style much, and I can't stand Celoni's art! I do like Ziche though.
Of course there are artists who have their own style. But all the new, quantity- making ones, they all look like the try to resemble Cavazzano. Just because there are artists who don't, doesn't mean I am wrong (after all I never said "all", I said "many").
I wholeheartedly disagree about Mottura. Before, he, too, looked like he tried to copy Cavazzano. His awkward, surealistic, artistic style makes him different and original and I just love it. Celoni is trying tk do what Mottura does, though not as good. I like him, just not as much.
The problem with Mottura's more recent art is that the panels just don't have any focus. It's just not easy on the eyes IMO. Particularly when the ink lines aren't clearly defined anymore (which isn't always the case with his art, but was the big issue I had with "Moby Dick").
I know and like several of Mottura's stories from the late 90s and early 00s where he was still drawing in a "traditional" way - but to me it doesn't resemble Cavazzano that much either. It's the same with many others, e.g. Lavoradori or Intini - they already had a distinctive style before they got completely weird.
"...all the new, quantity- making ones, they all..." - "I never said "all"" - well what is it then? And how do you define "new"? I think Monkey_Feyerabend is right; I can't think of any new talent that came up within the last 5-10 years that imitates Cavazzano. I have a feeling this period ended in the late 90s/early 00s.
The problem with Mottura's more recent art is that the panels just don't have any focus. It's just not easy on the eyes IMO. Particularly when the ink lines aren't clearly defined anymore (which isn't always the case with his art, but was the big issue I had with "Moby Dick").
I know and like several of Mottura's stories from the late 90s and early 00s where he was still drawing in a "traditional" way - but to me it doesn't resemble Cavazzano that much either. It's the same with many others, e.g. Lavoradori or Intini - they already had a distinctive style before they got completely weird.
"...all the new, quantity- making ones, they all..." - "I never said "all"" - well what is it then? And how do you define "new"? I think Monkey_Feyerabend is right; I can't think of any new talent that came up within the last 5-10 years that imitates Cavazzano. I have a feeling this period ended in the late 90s/early 00s.
Stefano Zanchi...hasn't closed 10 years working for Disney yet Plus, quantity-making artists are not ALL artists of Disney, are they now? Just because I said all quantity-making artists, doesn't mean I said all artists. That's just word distorting right there.
Yet, when you buy a Topolino, there is a chance you won't find ANY clear-cut Cavazzano influence there...
Zanchi's most recent art looks like a 100% copy of Andrea Freccero. You can argue Freccero is a Cavazzano disciple, but this is going a bit too far IMO.
Nah. There have always been artists of a different style. Carpi, Chierchini, Scala, Bottaro, Asteriti, to mention a few. And I really preferred when Mottura drew more "normal" - I don't like his modern style much, and I can't stand Celoni's art! I do like Ziche though.
But all the new, quantity- making ones, they all look like the try to resemble Cavazzano.
I have realized which artist felt the most blatant like a Cavazzano-lookalike to me: Corrado Mastantuono!
Though it seems his style has evolved quite a bit ever since he worked on PK.
Really? I always thought Mastantuono's work was quite distinct -- at least, his writing.
Some of the artwork Cavazzano did in the '90s is among the best ever in Disney comics. Especially in night time panels, when he involves shading. I wish he'd developed into a sleeker art-deco style from there, but it's his work and he's still a great job today.
For a discussion about artwork, this thread is sorely lacking in examples. I can see how there's an 'average' Italian style that developed out of '80s Massimo de Vita comics, and I have more difficulty distinguishing different styles today than a few years ago, but saying almost every Italian artist looks like Cavazzano isn't very useful.
There's always been a "studio" contingent of Disney comic art, and it's never been my favourite -- the artwork tend to look characterless and samey -- but it's cheaper, I guess. Seeing a Comicup Studio story, a Jaime Diaz, Digikore, or a Magic Eye story, does not fill me with great joy. And Branca, Fecchi and Vicar are all examples of artists whose art took a turn for the worse IMO -- as did Barks' when he took on Garé as inker. I think you can tell when there's multiple people doing a single job.
Not all is lost. There's still plenty of distinctive artwork being produced. For every three Comicup stories published in Holland, there's also a José Ramón Bernado.
Last Edit: Apr 13, 2020 13:45:48 GMT by That Duckfan
thadwell , Cavazzano considers the longest night as one of the greatest scripts he ever received, not only for Disney. In this story Faraci revealed his ability as a comics writer. (I think it was his second story ever.) Unfortunately most of his humor is based on the pulp-ness of his brilliant dialogues, which I do not even know if a non-native speaker can get. In any case that is inevitably lost in translation.
For a few years Faraci and Cavazzano continued this series of 'dynamically staged essentially silly story' featuring Casey, Sassi (or whatever Torcivia renamed the character) and often the other three cops of the story you read:
By now, these have been all published in my language. The "Cops on the run" (how I would call it) and "The Last Days of the Year" were really brilliant stories. The latter had some of my favourite Cavazzano expressions ever.
Challenge in Mouseton (1997). Not the best one, but an interesting divertissement: the 'challenge' is that the author never uses the letter 'e' all over the dialogues!
Huh. I didn't know this. I doubt that the translators noticed it. I remember it being pretty funny...
And Branca, Fecchi and Vicar are all examples of artists whose art took a turn for the worse IMO -- as did Barks' when he took on Garé as inker. I think you can tell by the nature of the medium.
I actually think Fecchi has never drawn better than right now. His art is off-the-scales in breathtaking beauty, wish I could provide some scans.. I just wish he would get some really meaningful plots to draw. This one isn't so great, but lovely art: inducks.org/story.php?c=D+2017-124
He did have a bit of a draught period some years back.
I have realized which artist felt the most blatant like a Cavazzano-lookalike to me: Corrado Mastantuono!
Though it seems his style has evolved quite a bit ever since he worked on PK.
I agree that Mastantuono was very close to Cavazzano in his early days (which were GOOD, by the way!), but - returning to what I also said about early Intini and Lavoradori - you can identify him by a few quirks. Most artists have their own way of drawing faces and side characters. In the case of Mastantuono it's angular looking open mouths, often from the side/back.
Later, you could never mistake the two. Even within PKNA, there is a clear evolution going on between his contributions.
Mastantuono is an interesting artist, because he's pretty versatile: He can write a story for another artist, draw a story by another writer and do both as a complete artist. "Casey's Sleepless Nights" e.g. came about by Cavazzano requesting a story with Casey as the main person, and Mastantuono came up with a plot that doesn't ape Faraci, but IMO stands up well against the Faraci/Cavazzano collabs.
Interestingly enough, another rather prominent artist - Marco Gervasio - started his career by actually copying panels and poses by Cavazzano, Mastantuono and Andrea Freccero (if I had a scanner ready, I could provide multiple examples), but slowly developed his own style, which is still informed by those artists, but distinctive enough.
Interestingly enough, another rather prominent artist - Marco Gervasio - started his career by actually copying panels and poses by Cavazzano, Mastantuono and Andrea Freccero (if I had a scanner ready, I could provide multiple examples), but slowly developed his own style, which is still informed by those artists, but distinctive enough.
By copying... do you mean he has traced panels and poses for his published comics??
Interestingly enough, another rather prominent artist - Marco Gervasio - started his career by actually copying panels and poses by Cavazzano, Mastantuono and Andrea Freccero (if I had a scanner ready, I could provide multiple examples), but slowly developed his own style, which is still informed by those artists, but distinctive enough.
By copying... do you mean he has traced panels and poses for his published comics??
I do not think he ever traced, not even that he explicitly copied panels. Starting from the 90's - when Disney Italia created an academy for Disney comic artists directed by Carpi himself! - the competition to become an artist appearing on Topolino magazine became ferocious. It was quite hard for someone of Gervasio's generation to get there without having some relatively high artistic skills. But this is just my hypothesis, I may be totally wrong...maybe Gervasio said so in some interview, and in that case who am i to contradict him. ¯\_(ツ)_/¯
Rosa often remembers in his interviews that for his early stories he literally had to copy postures from Barks's panels. But of course his case is peculiar, since he had no experience nor training on duck art, and at least when creating The son of the sun he did not even thought of it as the beginning of a comic art career, rather just as some kind of 'fan fiction story' to be published once before going back to his real job.
Daan Jippes used to “copy” Barks panels for his own stories, as well (on the Dutch forum someone once compiled a bunch of them next to the originals: bb.mcdrake.nl/neddisney/viewtopic.php?f=26&t=15&start=90 ) . And yeah, early Rosa’s work was full of Barks copies, too. I wouldn’t know what’s wrong with it, necessarily—they’re only used as drawing guides/model sheets, and even then they’re still drawn in their own style.
Daan Jippes used to “copy” Barks panels for his own stories, as well (on the Dutch forum someone once compiled a bunch of them next to the originals: bb.mcdrake.nl/neddisney/viewtopic.php?f=26&t=15&start=90 ) . And yeah, early Rosa’s work was full of Barks copies, too. I wouldn’t know what’s wrong with it, necessarily—they’re only used as drawing guides/model sheets, and even then they’re still drawn in their own style.
Could it be one reason why he redrew many Barks stories that were originally drawn by Strobl? Since he was... "familiar" with the style?
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Daan Jippes used to “copy” Barks panels for his own stories, as well (on the Dutch forum someone once compiled a bunch of them next to the originals: bb.mcdrake.nl/neddisney/viewtopic.php?f=26&t=15&start=90 ) . And yeah, early Rosa’s work was full of Barks copies, too. I wouldn’t know what’s wrong with it, necessarily—they’re only used as drawing guides/model sheets, and even then they’re still drawn in their own style.
Could it be one reason why he redrew many Barks stories that were originally drawn by Strobl? Since he was... "familiar" with the style?
He was, at one point, the artist who could most closest adapt his art style to mimick that of others, especially Barks. Look at his run of Gladstone covers: some of those look pretty darn indistinguishable from Barks or Taliaferro. I assume the Dutch editors wanted to print Barks' Woodchuck stories in a style that was more palatable to the Dutch readership, which is why they had him redraw the lot. Results varied, IMO.