Interview with Claudio Villa, the legend of the house of Sergio Bonelli Editore | Lucca Comics & Games 2017


Published on Dec 20, 2017


A name, a guarantee: Claudio Villa has brought up the name of the milan publishing house, signing the covers of magazines (and not only) of the characters best known from the Martin Mystère passing for Dylan Dog up to the timeless Tex Willer.

His sudden, very recognizable, stands out from years on the windows of the newsstands all over Italy and also abroad, where his art is appreciated as well as in the homeland. He was a guest of the last edition of Lucca Comics & Games is in the stand Sergio Bonelli Editore, with his portfolio, that on the stand the Round Robin, where he designed the cover of Michelangelo – The wall perfect (by Giuseppe Cesaro and Giuseppe Guide).

During the busy festival tuscany, we had the opportunity to ask a few questions about his amazing career.

MF: Thanks for the availability! Has many years of career and many publications from which he has drawn. Which of his characters is more fond of?

CV: All of the ones I designed, they occupy a special place. There are not many and we don't want to “so much space” to accommodate them. But instinctively I answer, “Martin Mystere”, the first one that I drew Bonelli. The “baptism” with the true comic.

MF: Martin Mystere, Dylan Dog and Tex: three characters are so different. How they are born from the pencil of mr. Claudio Villa?

HP: Starting from the respect of the characteristics of each one and trying to give a thickness realistic at all. Easy to say, a little less when you put. Tex in particular is the result of a “recipe” is very articulated. Not has a characteristic, a unique detail that makes it recognizable. You recognize it from a set of particulars that go all cared for carefully. Otherwise, “not Tex”.

MF: There is a character who always wanted to draw?
CV: Batman.

MF: there is a comic book character that she wanted to give birth?

There is no. Let me explain: for me it is not important to “give birth” to a character, but to be able to make it live on paper. It is a kind of rebirth, and each designer has this opportunity when he is drawing. Every time you draw a character “born again”.

MF: That differences of approach and of timing between the processing, a cover sheet, and machining a register?

CV: The time difference is obviously given by the number of tables that make up a story. A table takes a couple of days at the designer. For the cover, the discourse is very different for the function that must have the drawing from the cover.

It must be a scene that you tell it, but without revealing; that interest, but without too many elements; that is legible, framed in a way that is eye-catching. The light, the framing, the posture of the characters, are all elements that should be treated very much in a cover, which is the showcase of the comic strip. It is the first image that the reader sees and it can make the difference whether to buy or not the register. For this design and draw a cover page takes more time compared to a table of comics.

MF: What is the author with whom he felt most comfortable with so far? There is someone in particular with whom he would like to or would have wanted to collaborate (even authors disappeared)?

HP: The task of a comic book artist is to “team up” with the screenwriter. If we understand, if there is match, the result is more effective.

I have worked with Alfredo Castelli, Tiziano Sclavi, G. L. Bonelli Nizzi, Tito Faraci and Mauro Boselli. Each of them has his own style and his own way of the pages and relate with the designer. We are united by the magic to the world of the clouds, talking, and then we are all a sort of “family”.

I can say that I was struck by the freedom that leaves Castles to the direction of the designer. The care with which Sclavi describes the scene to draw, so also does Nizzi, but Sclavi part from the image. Faraci does everything to put the designer at ease. Boselli is a atomic pile. Writes as G. L. Bonelli, but without the drawings on the script, he puts only the directions where the movement of the characters and is able to construct situations that are very complicated and interesting without a loss of rhythm.
In love with the stories of Ken Parker, I have always wondered how it would work with Berardi
And also Manfredi is a writer with whom I would like to work.

MF: let's Talk about Claudio Villa player. What are your favorite comics?

CV: I Read rarely, but when I find something beautiful I fell in love with and return on. So I find myself re-reading for the umpteenth time On the slopes of the north (yes, Tex), a story on masterpiece written by G. L. Bonelli and illustrated masterfully by Giovanni Ticci. Then some of the stories of Mister No written by Sergio Bonelli, The head-hunters and Sclavi stagecoach, both designed by the great Roberto Diso. Then The Dark Knight returns, the masterpiece of Frank Miller, Batman year one, the saga of the Devil with his fall, and rebirth always the work of the Miller. Kingdom come by Mark Waid and drawn by Alex Ross: lucid and prophetic vision of the times we are living in.
And for me is taking the saga of Michel Vaillant, a passion that I've always had and that now takes on new energies from the effective management of the character that they are bringing forward the authors.

MF: Which of the contemporary Italian authors considered more talented? And as the author foreign?

CV: there are so many that I would make a list at the end tired. The level of quality has stood up incredibly and you can see things to learn every day. Let's say that I prefer the stretch to be realistic, but a comic book is not only a “beautiful drawing”, is also the “atmosphere” and some of his colleagues know how to catch the atmosphere romantic, epic, poetic, adventurous, with personal styles that become very attractive. And I'm going to school to learn.

MF: Instead, what is your opinion of the webcomics?

CV: I still have a way to tell stories. The web offers opportunities that the charter is not and should be exploited. But the pleasure of having between the hands a book to browse through, savour the smell of the printing ink, reading perhaps in the light of a candle in a mountain hut on a comic with a good story has no comparison.

After the pressing requests, Claudio Villa has realized the Texone.

Posted by Tex – Sergio Bonelli Editore on Friday 24 march 2017

Interview with Claudio Villa, the legend of the house of Sergio Bonelli Editore | Lucca Comics & Games 2017 is




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