Dylan Dog's first cover artists: Claudio Villa and Angelo Stano - 35 years of Dylan Dog

Dylan Dog turns 35 years old! The nightmare investigator debuted in the newsstands on September 26th 1986 and since then he accompanied readers every month through the decades to this day. Recently we talked about Dylan Dog’s current cover artists, this time I want to celebrate the anniversary of the series with the cover artists of the “classic” era: Claudio Villa and Angelo Stano.

Cover of Dylan Dog n.1
by Claudio Villa

Claudio Villa debuted in the comic world after graduating from art school, drawing for edizioni L.U.G. the medieval miniseries Enguerrand e Nadine and the sci-fi comic Gun Gallon. In 1982 he started collaborating with Sergio Bonelli Editore (back then called Daim Press) for issues 11-12 of the series Martin Mystère, for which he drew nine stories in total. After working on four stories the publishing house commissioned a test to draw pages for Tex, which he passed successfully, working later on a script written by founder Gian Luigi Bonelli.

Cover for "Le vie dei colori"
by Claudio Villa

In 1986 he was contacted by Tiziano Sclavi for the character design of a new character, Dylan Dog. Sclavi provided Ville with all the material gathering the “creative process” and reference images for the faces that inspired him. His first attempts weren’t very satisfying: Dylan is a British man and his studies had traits that were <<kind of Hispanic with thick hair, sideburns and a big nose>>. Once they understood that Dylan is British, they decided to use Rupert Everett’s face as inspiration, and with a few adjustments we reached the definitive appearance of the character. Claudio Villa took care of the covers for the first 41 issues. In 1996 he wrote and drew in collaboration with singer songwriter Claudio Baglioni the story Le vie dei colori starring Dylan Dog, published in color in the magazine Tutto Musica e Spettacolo. In an interview with Lo Spazio Bianco in 2015 he stated that this was his first experience as a cover artist and it was very formative: <<The opportunity of working on the covers was a real gym>>.

Cover of Dylan Dog n.42
by Angelo Stano

He then took care of the character design of Nick Raider, a character created by Claudio Nizzi that debuted in 1988. He took up the baton as cover artist for Tex after Galep in 1994, drawing many issues as well. In 2006 he drew the story Devil & Capitan America: Doppia Morte with the script by Tito Faraci, a production from Marvel Italia. From 2007 to 2011 he drew the covers for Tex’s Collezione storica a colori, a collection of Tex’s stories in color in collaboration with publisher group L’Espresso. Claudio Villa also works on covers for Bonelli comics’ international editions.

Tarot card of The Judgment
drawn by Angelo Stano

Angelo Stano got the art high school diploma in 1971 and debuted in the comic world in 1973 drawing an adaptation of From Earth to the Moon by Jules Verne according to Roberto Catalano’s script, published by Editrice Sole. He worked for several publishers, among which Ediperiodici, Edifumetto, Corrier Boy and Universo. He taught at Milan’s Scuola di Fumetto from 1981 to 1999. In 1985 he entered the team of authors that created Dylan Dog, drawing the first issue of the series, L’alba dei morti viventi. Then he worked on many stories of the series, and in 1990 he took up the baton from Claudio Villa as the series’ cover artist from issue 42. His last cover was issue 361, Mater Dolorosa, followed by the blank cover of Dopo un lungo silenzio, leaving the baton to Gigi Cavenago in issue 363. Occasionally he keeps drawing stories for the main title: his most recent one is issue 417, L’ora del giudizio, written by Barbara Baraldi and published in May 2021. During his career Stano also drew covers for the titles Speciale Dylan Dog (1990-2014) Maxi Dylan Dog (1998-2014), Dylan Dog Gigante y Almanacco della Paura.

Cover of Dylan Dog n.315
by Angelo Stano

In 2012, Angelo Stano worked on script, drawings and cover of issue 315, La legione degli scheletri, an exceptional case because issues are usually a work of two authors plus the cover artist. In addition, in 1991 he drew the illustrations for the Tarocchi di Dylan Dog, tarot cards created in collaboration with publisher Lo Scarabeo that represent the major arcana with the characters of the series.

On occasion of issue 400, Claudio Villa and Angelo Stano came back to create special covers together with Gigi Cavenago and Corrado Roi, who was not a cover artist for the main title but he is one of the most memorable artists of the comic series.

Covers of Dylan Dog n.400 by Gigi Cavenago, Claudio Villa, Angelo Stano and Corrado Roi

This time as well I will show my favorite covers to celebrate the artists of the classic era of Dylan Dog.

Cover of Dylan Dog n.25, “Morgana”, October 1988, Claudio Villa. One of the most memorable covers, due to its composition as much as for the introduction of the character of Morgana.

Cover of Dylan Dog n.44, “Riflessi di morte”, May 1990, Angelo Stano. I especially like the shadow and the inclusion of the title in the composition, with the sword covering one of its letters.

Cover of Dylan Dog n.40, “Golconda!”, February 1990, Claudio Villa. The cover is an homage to the painting Golconde by René Magritte in a horror key. 

Cover of Dylan Dog n.63, “Maelstorm!”, December 1991, Angelo Stano. A surreal passage-way room, where you can’t tell up from down and different supernatural creatures meet.

Cover of Dylan Dog n.16, “Il castello della paura”, January 1988, Claudio Villa. The veiled lady and her marvelously detailed gown are the protagonists of the composition.

Cover of Dylan Dog n.120, “Abyss”, September 1996, Angelo Stano. The objets and marine fauna are portrayed very thoroughly, personally I quite like the perspective the razor is represented with.

Change of cover artist for Dylan Dog: leaves Gigi Cavenago, enter Raul and Gianluca Cestaro

The month of September starts with important news in Dylan Dog’s main series: the cover artist that accompanied readers for the past years, Gigi Cavenago, passes the torch to the brothers Raul and Gianluca Cestaro starting from issue 421. The series curator, Roberto Recchioni, explained in the comments of the announcement of issue 420’s newsstand release that Cavenago currently has other priorities and for this he had to leave his role as cover artist.

Cover of Dylan Dog n.420 by Gigi Cavenago

Gigi Cavenago debuted in the comics world in 2005 in the magazine Strike published by Star Comics with a short story called “Predatore naturale”. Then he worked for the new series of Jonathan Steele drawing several issues. He alternates the activity of comic artist with his job as illustrator for publishers and advertisements. He debuted at Sergio Bonelli Editore as part of the staff for the miniseries Cassidy (2010), he was chosen for the series Orfani in 2013. He started drawing covers for the secondary title Maxi Dylan Dog Old Boy in 2014 and debuted as cover artist in the main series in November 2014 with issue 363, Cose perdute (Lost things), written by Paola Barbato with art by Giovanni Freghieri, taking the torch from cover artist Angelo Stano.

Cover of Mater Dolorosa by Gigi Cavenago

Furthermore, before his official debut as cover artist, Gigi Cavenago drew in color issue 361, Mater Dolorosa, written by curator Roberto Recchioni to celebrate 30 years of Dylan Dog. This issue is available in its newsstand edition, with cover by Angelo Stano, and in hardcover and bigger size edition as well for bookstores, that can be read in Italian, English and Brazilian Portuguese. In February 2019, the Cestaro twins started to work on the covers for Maxi Dylan Dog Old Boy, with very nice results.

Cover of Dylan Dog n.421
by Raul and Gianluca Cestaro

Raul and Gianluca Cestaro debuted in the comics world in the second half of the 90s with the short story “Il Fulmicotone” in a fanzine for the Lucca convention, in 1996 they started their professional journey with “Kid, una strana storia”, comic written by Giancarlo Alessandrini and published for the centenary of comic at the Lucca Comics event. In the same year they worked at Sergio Bonelli Editore drawing Robinson Hart, created by Luigi Mignacco. In 2002 they started working on the publisher’s main title, Tex, becoming recurring artists. Their first story with Dylan was in the Color Fest n.10 in 2013, then two issues in the main series: n.331 La morte non basta (writer Giovanni de Gregorio, April 2014) and n.346 “...e cenere tornerà” (writer Paola Barbato, July 2015). 

Although I will miss Cavenago’s covers, I am very happy that the Cestaro brothers will be his successors! To celebrate the artists I will show you my favorite covers by them in these years of their career with Dylan Dog.

Cover of Dylan Dog n.363 “Cose perdute”, November 2014. Debut illustration of Gigi Cavenago in the main series. Groucho is a remarkable element of the piece, because he doesn’t appear often on the covers.

Cover of Maxi Dylan Dog Old Boy n.35, February 2019. Debut illustration of the Cestaro brothers as cover artists for Dylan Dog, it presents some of the more iconic adversaries of the main character.

Cover of Dylan Dog n.403 “La lama, la luna e l’orco”, March 2020, by Gigi Cavenago. Fun fact: in the issue’s physical copy the title and the knife reflect the light!

Cover of Dylan Dog Old Boy n.3, October 2020. Illustrated by the Cestaro brothers, it includes Dylan Dog’s supporting cast in a Halloween atmosphere.

Cover of Dylan Dog n.419 “Albachiara”, July 2021, by Gigi Cavenago. Playing with warm and cool tones, the protagonist of the piece is the girl despite not being in the front row of the composition.

Cover of Dylan Dog Old Boy n.6, April 2021. The Cestaro brothers pay homage to the painting Nighthawks by Edward Hopper with an interesting distorted perspective.

On another occasion we could talk about the first two cover artists of Dylan Dog, Angelo Stano and Claudio Villa, with my favorite covers from the series’ “classic” period, stay tuned!

A dream that ended too soon: the periodical Mangaka

Cover of issue n.1 of Mangaka

Japan Magazine was not the only periodical dedicated to the manga world that charmed me in the past. In the summer of 2009, after a day at the beach, in a newsstand I found a magazine called Mangaka, with a very colorful cover, and a subtitle saying “the only magazine that publishes your manga”. I was instantly fascinated and bought it. Inside it had a few short stories of European manga authors, with articles about techniques and interviews with manga authors. I hoped to find the following number, but I never found it: convinced I had found something that could fill the void left by Japan Magazine, I kept hoping to have luck and find an issue in the future. Years passed, and during a research on the internet I finally found an answer to my doubts: the magazine, published by Coniglio Editore in 2009 bimonthly, finished its publishing journey after the first two issues. The publisher itself doesn’t exist nowadays, it unfortunately closed down in 2011.

Ad for publishing on the magazine

Presented as a supplement to the title Scuola di Fumetto, Mangaka offered an incredible opportunity: the readers could send their own short stories to the editorial staff, and if it was published, the artist would have been paid 35 euros for each page! For me, a 13 year old kid, 35 euros per page seemed a fortune. Having the luck of seeing my drawings published in a magazine, and being paid as well? A dream! Here is the ad with the instructions to send by mail a story of one to four pages. Remember, it was the year 2009 and sending photocopies or digital scans on CD by mail was still more common and accessible than using e-mail.

Cover for issue n.2 of Mangaka

Unfortunately I don’t have the second issue, I would be very curious to see the works of non professional artists. The artists that collaborated on the first issue are:

• Joanna Zhou
• Åsa Ekström
• Marco Dominici
• Celia Machuca A. (script) + Elisabet Basanta 
• Federico Memola (script) + Teresa Marzia
• Giacomo Pueroni 
• Akane (Alicia Ruiz)
• Federica di Meo
• Enrica “Enrychan” Fastuca

Article about screentones

The articles talk about drawing techniques, fundamentals and tools, with easy writing for the beginners but at the same time very informative and interesting. For instance, a short article explains what are screentones, what is their function and where to find them in Italy.

In conclusion, the Mangaka periodical had the potential to be a point of reference and a stepping stone for beginner artists interested in the creation of manga, and it’s a shame that its publishing journey was that short. However, I am very glad I bought the first issue on that Summer day, fondly remembering the magazine to this day.

Un sueño acabado demasiado pronto: la revista Mangaka

Portada del n.1 de Mangaka

Japan Magazine no fue la única revista dedicada al mundo manga que me cautivó en el pasado. En el verano del 2009, después de un día en la playa, en un quiosco encontré un periódico titulado Mangaka, con una portada muy colorida, y un subtítulo que dice “la única revista que publica tus manga”. Fue instantáneamente encantada y lo compré. Al interior tenía algunas historias cortas de autores de manga europeos, con artículos sobre técnicas y entrevistas a autores de manga. Esperaba encontrar el número siguiente, pero nunca lo encontré: convencida de haber descubierto algo que podría llenar el vacío dejado por Japan Magazine, seguí esperando tener suerte y tomar un número en el futuro. Pasaron años, y durante una búsqueda por la red tuvo finalmente una respuesta a mis dudas: la revista, publicada por Coniglio Editore en 2009 con frecuencia bimestral, concluyó su recorrido editorial después de los primeros dos números. La editorial misma hoy en día no existe, desafortunadamente cerró sus puertas en 2011. 

Anuncio de publicación en la revista

Presentada como suplemento al título Scuola di Fumetto, Mangaka ofrecía una oportunidad increíble: ¡los lectores podían enviar sus cuentos cortos a la redacción, y si hubiera sido publicado, se habría pagado al artista 35 euros por cada página! Para mi, una niña de 13 años, 35 euros por página me parecía una fortuna. ¿Tener la suerte de ver mis dibujos publicados en una revista, y ser pagada también? ¡Un sueño! Aquí está el anuncio con las instrucciones para enviar un cuento de una hasta cuatro páginas por correo. Recuerde, era el año 2009 y enviar fotocopias o escaneos digitales en CD por correo era todavía más común y accesible que utilizar el correo electrónico. 

Portada n.2 de Mangaka

Desafortunadamente no tengo el segundo número, estaría muy curiosa de ver las obras de artistas no profesionales. Los artistas que colaboran al primer número son:

• Joanna Zhou
• Åsa Ekström
• Marco Dominici
• Celia Machuca A. (guión) + Elisabet Basanta 
• Federico Memola (guión) + Teresa Marzia
• Giacomo Pueroni 
• Akane (Alicia Ruiz)
• Federica di Meo
• Enrica “Enrychan” Fastuca

Artículo sobre los screentone (tramas)

Los artículos tratan técnicas, fundamentos y herramientas de dibujo, con una escritura fácil para los principiantes pero al mismo tiempo muy informativa e interesante. Por ejemplo, un breve artículo explica qué son los screentone o tramas, cual es su función (con muchas imágenes) y dónde encontrarlos en Italia.

En conclusión, la revista Mangaka tenía el potencial de ser un punto de referencia y un trampolín para artistas principiantes interesados en la creación de manga, y es una lástima que su recorrido editorial fuera tan corto. Sin embargo, estoy muy contenta de haber comprado el primer número en aquel día de verano, recordando la revista con cariño aún hoy.

Before online forums and websites in Italy: Japan Magazine

During the boom of popularity of anime in Italy during the 80s-90s the average fan was very interested in discovering more about their favorite series, more aware of the differences between the censored dub and the original version, and as well wanted to meet other fans. However, in that era the forums and websites as we know them today didn’t exist yet. So, what did yesterday’s fans have?

Japan Magazine cover from 1991
(source: Guida al Fumetto Italiano)

In 1991 in the newsstands debuted Japan Magazine, a periodical dedicated to the current anime series. A versatile magazine, that through more than a decade changes many times covers, title and especially size. Japan Magazine’s inconsistent size was probably due to the change of publishers and the fact that technically it was a publication with pirated content, because it wasn’t authorized by the owners of the series, but this last part is speculation that was never officially confirmed. Correct or not, the rumors about the “pirate magazine” amplified its fame: Japan Magazine was the reference point for the newborn Italian otaku culture.

Its contents included articles about series on air and sneak peeks of what was about to come, interviews to the voice actors and comic artists, posters and spaces dedicated to the readers’ content. In fact, the readers could send their drawings and fanfiction to the magazine’s editorial staff! Furthermore, the staff replied to reader’s questions in La posta del Drago (Dragon Mail) and you could propose ads for selling, buying or exchanging in the column Fiera del Bambù (Bamboo Fair), where occasionally the ads were something along the lines of “I’m looking for friends to talk about manga and anime, you can write me at this mail address”. In the last period of its publishing history the Dragon Mail was accompanied by Matilda’s Mail: the first was about questions and daily general themes, the latter was dedicated to questions about the anime world and Japanese culture.

JM cover from 1993 featuring
unexplicably Dylan Dog
(source: Guida al Fumetto Italiano)

This all seems legit, right? Where is the pirated content then? In the early years of Japan Magazine, the periodical used to feature chapters of anime comics, that is a comic version of an episode created using frames from the animated series. Normally anime comics can be quality work, when they are made by a team that understands the visual language of comics. The point is that JM’s anime comics used to take already existing adaptations and modify them, sometimes cutting scenes and simplifying dialogues. We can see an example of this thanks to MikiMoz’s article, that presents us a Sailor Moon anime comic and the differences with the correctly translated version made by Marvel/Panini years prior. His article about the magazine is also quite interesting! During the third publishing phase of JM the anime comics were reduced and when they appeared it was a few pages put together by the editorial staff with frames of lower quality, they personally remind me of VHS recordings.

Page from the Beyblade anime comic
(2005, personal collection)

What’s more, in the early years a few issues had an annex of some VHS of movies or OVA (Original Video Animation) anime, and these were undoubtedly pirated, to the point of open conflict between publisher EDEN and authorized distributors such as Yamato.

This peculiar magazine, that sometimes can be considered similar to a fanzine, had three series through its publishing history:

• Series I (1991-1992) 10 issues
• Series II (1992-1995) 28 issues
• Series III (1998-2005) 66 issues

For this, although it’s not easy to identify the release date of each issue, it’s possible to estimate the year of publishing.

JM cover from the late 90s
(source: Guida al Fumetto Italiano)

During my childhood in the 2000s I used to buy Japan Magazine when I had the chance of finding it at the newsstand. I remember seeing different sizes, one time it was a small book, another time it was as big as printer paper! The number of pages changed as well and occasionally the title, and I used to wonder why it was like that. I own several issues titled JM Japan Magazine, and a few titles JM Cartoons, sized like a little book. Thanks to the archive site guidafumettoitaliano.com I could finally understand the bizarre journey of the magazine and it’s special editions, such as JM Cartoons. One of the articles that particularly impressed me was about drawing tools and it mentioned Pantone markers with many images as well.

JM cover from 2005
(personal collection)

In the end this was JM’s strength: in a time period where the internet didn’t exist or it wasn’t as accessible as it was today, images and information (although sometimes partially incorrect) were a precious treasure! After the golden age between 1995 and the first years of 2000, in the last period of its publishing history the magazine gradually lowered in quality, and concluded its journey in 2005. When I decided to write this article I looked for my issues of the periodical and I found two that are very likely from 2005. I hope to find the issue with the Pantone markers, so I could share the article here!

JM was a peculiar and a bit odd magazine, it wasn’t perfect but it was a product of passion from manga and anime enthusiasts. Thank you Japan Magazine for the happy memories of two generations of fans! <3

JUNDO: the library keeps expanding

The recently founded Italian comic reader service JUNDO keeps including new works in its library, the most recent update features the debut of foreign independent works! Now the catalogue presents 16 original works by Italian artists and one imported work: Exilium, written by Ben Slabak with art by Salomon Farias.

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Exilium is one of Ben Slabak’s projects that became quite successful on the Kickstarter platform, the crowdfunding website where independent projects can obtain fundings thanks to direct donations from users. Quoting the words from the Kickstarter page:

EXILIUM is a graphic novel consisting of the entire six-issue limited series published by Alterna Comics, including a bonus 10-page story from the world of Exilium. 

Currently the first issue of Exilium’s second season has already been funded through Kickstarter. A science-fiction story, Exilium is set in the late years of the 21st century: an advanced alien civilization, after contacts with humans, arrived on our planet to flee from a superior force, dividing humanity. Without knowing they lead their enemies to Earth, aliens and human allies now have to defend themselves. The hopes of the planet lay on a mysterious group known as Exilium!

This works is a very good start that keeps promising interesting content for the platform, both original and imported.

JUNDO: a new frontier in Italian comics

Entering in the Italian publishing world is difficult, especially in the comics field, if you are a rookie. For this reason a young group of writers and artists decided to organize and create a new community “to break the barriers of the comics world”: this community is called JUNDO.

This platform aims to cut the intermediary between artists and readers, giving space to products of any genre, from horror to comedy, from sci-fi to fantasy and slice-of-life. Similar to the format of online publishing services such as the app MANGA PLUS by Shueisha, the works are divided into chapters published over regular intervals of time. Each week there is a new publication, which can be the first chapter of a new series or a new chapter of a series that started earlier!

Page of the series "Carnival Chaos"
from Google Play Store

Since its debut in December 2020 up to date, the JUNDO library features 15 works, with an interesting variety of art styles, narration styles and themes, and this is its strength, the richness of diversity of the contents. Another characteristic of JUNDO is the future possibility of buying a physical copy of the comic you read once its publication will be complete on the platform. The printing of the comics will be funded by the price of the monthly subscription of 1,99 euros, and the subscribers won’t pay the shipping expenses. The profit from the books minus the production costs will belong to the artists, following the spirit of allowing them to keep the rights of their own creations and earn as they deserve. What’s more, new artists can pitch their stories or propose themselves as cartoonists! The team picks the artists, pairing cartoonists and writers, and if you are not chosen you will receive feedback with their reasoning and what you can improve for the future.

Preview of the app
from Google Play Store

You can create a JUNDO account that will allow you to have one month of free trial to read anything you want, and if you are satisfied you can subscribe for 1,99 euros per month. JUNDO is available on its website as well as its mobile app for Android system and on iOS. JUNDO’s staff usually promotes the platform and its development progress on its instagram and facebook pages, where they publish previews of the soon to be published series as well.

Personally I am very happy about this initiative, it’s a new way for artists that struggle to enter the publishing world, and a new channel to express the creativity of whoever wants to tell a story.  

The Sardegna Film Commission short films - Second: flora and fauna

We continue with the miniseries analyzing the Sardegna Film Commission animated short films announced last June. In the first article we talked about the theme of “history, archaeology and legends of Sardinia” with the short film “28 abrile 1794: sa die de sa Sardinia”, in this second chapter the theme is “flora and fauna”.

Theme: flora and fauna

“Pensaci”

The protagonist is young Martina, surrounded by Capo Teulada’s nature she will learn a very important lesson about the balance of human relationships. With a confirmed length of five minutes, the short film is directed by Peter Marcias, written by Marco Porru, animated by Giorgia Atzeni and produced by Capetown.

The animation technique that will be used is cut-out animation. This technique consists in using plane figures, for example parts of a collage, as animation frames. You can create an animated collage traditionally, capturing frames like in the stop-motion technique, or digitally, manipulating the collage with photo editing programs. Here is an example of collage with a more “traditional” look and an example of digital collage produced by Capetown itself, the short film “Strollica”.

Giorgia Atzeni is an illustrator and art historian, specialized in drawing, engraving and graphics. She works in the fields of editorial graphics, illustration, creative art laboratory activities and children education. She published her illustrations with several Italian publishers such as Salani, Il Castoro, Franco Cosimo Panini Editore and Giunti.

Here we have some examples of covers and illustrations, to give us an idea of the drawing style for the characters of the short film. 

Cover of the book "Mia e Pepe in Ogliastra"

Cover of the book "Danzando con l'arte"

Illustration of a dragon from Giorgia Atzeni's website

Peter Marcias directed many documentaries, commercials and short films presented at national and international festivals. His debut in cinemas was in 2006 with the co-operative movie Bambini produced by Gianluca Arcopinto’s company Pablo, for which he directed the episode “Sono Alice” that participated in more than a hundred international festivals such as Giffoni Film Festival, São Paulo International Film Festival and others.

Very present themes in Peter Marcias’ filmography are the protection and preservation of the environment, celebrating successful women and LGBT themes. In 2010 and 2013 he directed two documentaries about the director Liliana Cavani and the actress Piera degli Esposti: Liliana Cavani, una donna nel cinema and Tutte le storie di Piera. Combining his passion for animation and his social commitment, he wrote and directed his first animated short movie in 2012, Il mondo sopra la testa, that debuted successfully at the Torino GLBT Film Festival - Da Sodoma a Hollywood. The two following short films, Il mio cane si chiama Vento (2016) and Strollica (2017), were produced by Sardegna Film Commission and tackle the themes of environment and sustainability. 

Marco Porru is a writer for cinema. He worked on the script of the film I bambini della sua vita (2011), produced by Peter Marcias. His debut in the narrative field is the book L’eredità dei corpi, finalist at Premio Italo Calvino 2011.

Here I see a successful team that could highlight the themes and the beauty of Capo Teulada, the promontory in the municipality of Teulada which forms the extreme southern point of Sardinia, in the south west precisely. I’d like to conclude with a few images of the area of Capo Teulada, this way we can imagine together how they could look through this team’s imagination.

The next short film on the list is “Il volo di Aquilino”, about a distinguished Sardinian character, poet Aquilino Cannas, stay tuned!