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Dondaisy makes me go insane in a good and a bad way

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I couldn't decide what to color his shirt... so I did everything!

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What's blowing on in… Duckburg

From Che aria tira a… Paperopoli

This Ziche affected me so greatly I had to post it alone. Poor Gladstone. Also look at Fethry in the background... he's such a cutie I almost fainted.

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The one panel putting me on chokehold

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Reading gottfredson volume 2 rn and

Damn walt wtf😭😭

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There are a few problems in the colorist community in italy. From the page of the association FeMU:

"IF THEY MAKE YOU THIS OFFER, DO NOT ACCEPT IT

It is known that Christmas is the best time to announce mass layoffs and spending cuts. Italian comics are no exception! GFB, the company that manages the coloring of comics and series published by some of the main Italian publishing houses such as Panini and Bonelli, has announced to its colorists that their payments will be reduced by 20%, going, in the case of the colors of Mickey Mouse, from €8 gross to €6.40 gross per panel. This is an unjustifiable offer and should not be accepted. Normally a flattist takes between €10 and €15 per panel. This is without considering the growth in the complexity of the work in recent years, especially on the panels of series such as Mickey Mouse. Coloring it no longer means making simple flats, but managing more complex atmospheres with timing ranging from 40 minutes to 3 hours at the table: the compensation in this case drops to €2.7 gross per hour. The situation is similar for those who make the flats of the collections attached to the Corriere della Sera of Bonelli series such as Blek or Commander Mark.

All this always as freelancers (with all that this entails: no coverage for sickness, holidays, maternity, fixed income) and without stable contracts.

We want to respond to this offer with three messages. To those working in the publishing sector, we want to say, once and for all, that proposing to someone to work for figures like these is mortifying for the professionalism and commitment shown by the author. This applies to the company that pays €2 per hour to the flatter as well as to the publisher who pays the designer €15 per table. This is even more true for those comics where there are no royalties on sales and where you can't even bet on an unexpected success of the project. Nobody forces you to be on the market and make comics. Nobody forces you to use third-party agencies that withhold part of the payments for intermediation. And the fact that there are professionals willing to accept such wages cannot be a justification. We contest the frequent narrative according to which your company/publishing house is presented as a large family in which you have to help each other and make sacrifices together. This is not the case. Cartoonists and their clients are not related by blood or friendship. They have a professional relationship. Companies are the subjects that can and must most sustain the entrepreneurial risk and the sacrifices that derive from it without passing them on to the author. If you want to do so, make the authors your partners. On the other hand, we want to tell the authors not to accept these figures and to always carefully evaluate the conditions that are proposed.

To give you an idea of ​​how little colorists are paid through GFB, consider that in the best case scenario we are talking about a salary of €6.40 gross per hour (corresponding to approximately €5.60 net) and in the most common (2 per table) of €3.20 per hour (€2.80 net). The minimum wage for a housekeeper (among the lowest paid jobs overall) is €6.11 net, for a babysitter it is €7.03 per hour. In both cases we are talking about jobs that give the right to sickness, maternity, thirteenth month, severance pay and unemployment benefits in addition to a higher basic hourly salary.

Do not accept conditions like this first of all for yourselves, for the quality of your life and for your career. Working in the world of comics and living off comics is very difficult, but there are many opportunities, especially if you look abroad.

If you are offered a low-paid job and you are considering taking it to gain experience, always evaluate whether it is actually something that can give meaning to your portfolio (making only flat, unfortunately, no).

But don't accept it for the sake of others. Taking low-paid jobs is harmful for everyone, because it justifies your clients to propose these rates or to reduce the compensation, even now that inflation and consumer prices are increasing. Each of us has our own life and our own needs, but if we remain isolated, certain things will never change. Publishers, fairs and agencies often have a paternalistic and condescending attitude towards those who make comics. We are treated with condescension, without the care or respect we deserve. We must be a united front at certain times and remind publishers, fairs and agencies that we are the professionals who allow them to exist and as such we must be treated and paid. Let's network.

To those who say "why complain? Our industry works like this!”, we reply: it’s true. It’s normal that those who make serial comics are usually external collaborators but in practice employees, deprived however of all the guarantees that an employment contract offers. It’s (bad) practice that those who make comics are not entitled to holidays, sick leave and that they work constantly and even more than the hours provided for by most collective agreements (and without overtime payment, to boot), but to this we cannot add the fact that they don’t even get to receive the lowest hourly wage achievable by the least generous of employment contracts. Do you like this? We don’t. This system can neither be justified nor normalized. We need to talk about it. The system is wrong and must be changed.

We condemn GFB’s choices to reduce compensation so suddenly and drastically, at a time when it would be useful to increase it to align it with the market and to allow a dignified life for those who make a living from this profession.

We ask Panini, Bonelli, Corriere della Sera and anyone indirectly involved to verify the adequacy of the conditions offered by their service providers and third parties to the final workers, if necessary adjusting their budgets, acting as bearers of the legitimate rights of professionals in the sector and ensuring that they have sustainable working conditions and adequate remuneration. We ask you to join us in showing solidarity with all those professionals who have collaborated with GFB for years because it happens too often in the comics profession to have to choose between giving up everything or having to continue working in absolutely unacceptable conditions. We are with you!

Merry Christmas"

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A little animation of Megavolt!

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You can check his available merch here!

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The Rhyming Man redesign (sorta)? More likely than you think!

We chose the borzoi dog breed for him since these dogs are supposed to be great hunters, more specifically because they can fit their snouts through small animal burrows. And, you know, the Rhyming Man is a spy, so he's supposed to sniff out secrets and stuff. And because this breed looks very recognizable!

Also because his TVtropes page mentions he's a "red scare" and borzoi dogs were bred in Russia, so

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Blots tries to sell his chat overpriced merch for the holidays

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This is a comic I made a couple years ago for @sarroora about Gladstone Gander's parents. I wanted to draw what I think what would be their personalities, and what their family dynamic could've been like.

Daphne, I think, is where Gladstone would get the carefree, lackadaisical part of his nature from. While Goostave is where his gets his snobbery, the combination of which creates the oddity that is Gladstone Gander.

But as you can see here, I wanted to show them as a loving couple too, with a happy family life.

I have a few more comics like this, with Donald's and Fethry's parents too, later I'll post them.

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Merry Christmas!!! 🎄🎁🦆

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The cousins film a commercial

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I would like to make a post with every Disney magazine/book series currently published, by country, to help people orienting themselves in this environment.

Of course I will start with Italy (and I ask for everyone from a different country to share their perspective of their own Disney magazines. For example the Brazilian Culturama ones... I have a hard time understanding the different identities of the various titles titles).

ITALY - Part 1

Topolino (1949-)

The flagship title, that publishes new original stories every week. Although it is named after Mickey Mouse, duck stories have always been pretty prevalent, but the trend has never been as strong as in northern european countries. It has now 164 pages, so it accomodates both long stories (with chapters on different issues or in the same libretto) and shorter ones. It is truly a magazine, so the comic stories are accompanied with artciles about lifestyle, games and more.

I Classici Disney [2nd series] (1977-)

This is the most historical of the reprint titles: since its first iteration, in 1957, it helped to spread Disney comics culture to generations of readers, proposing classics to kids and adults who may have lost track of them in the weekly magazine. The new revamp of the second series (since 2019, and following some changes in 2021) goes back to the original format of linking the stories proposed in longer narrations through inbetween pages, now written by some reknown Disney writer, who gets to choose the stories too. The title has generally reprinted more recent stories, compared to the subsequent I Grandi Classici, and nowadays thw covers are by Stefano Zanchi. It is published once every two months (plus a special summer issue).

I Grandi Classici Disney [2nd series] (2016-)

I Grandi Classici has been another title of reprints, but with a lens more interested in digging up older stories than the ones proposed in I Classici. A big role in defining the identity of the magazine has been played by the never forgotten Luca Boschi, who took the reins of it, becoming the curator, in 2004, during the previous run of the title. He led this book to become more philological, always proposing balanced indexes, between stories which can clearly considered Great Classics, parodies, and more minor and lesser known stories, like some american and S-coded ones. His mantle was then passed over to Pier Luigi Gaspa, who continued to follow this path. As a title dedicated to more in-depth knowledge of the material published, it presents a few articles, detailing the more interesting adventures appearing on its pages every month. Since the 2005 revamp, the cover artist has been Giorgio Cavazzano.

Disney BIG (2008-)

This is the disapponting title. Initially it competed with the Classici for the same stories, period-wise, as it is more centered around recent ones, but, as Classici went back to its original format, BIG could fly more freely in the skies of Disney publications. The main advantage of it is its size. Beaing cheap for its number of pages (initially over 500, now over 400) its popularity rose among parents who want to have their kids occupied for a lenghtier time than the average Disney magazine. But the choice of stories has always been... disapponting. Its size could favour longer and lessen known series, but it rarely went that way, publishing even parts of different series, leaving them unfinished. The selection is, so, pretty random, albeit initially it was supposed to be thematical, a differentiation from other riprints that was soon lost. It is monthly and the covers (which nearly always are dedicated to the first sstory in the volume) have always been done by Corrado Mastantuono.

Paperino (1986-)

One of the oldest titles, Paperino is now not much more than the covers of Alessio Coppola. The series started as a ploy to capitalize the popularity of Donald Duck, producing even some original new stories and selecting some old classics. In the 90s it recolored those old stories and, under the guidance of the usual Luca Boschi, developed some taste for lesser known tales, revolving every issue around a theme. Now it mostly reprints itself, with stories having appeared multiple times over the years. Recently the original story has become, more often than not, an Egmont story, as the places to publish foreign material have winded down over the years and to curb the investments on it. It presents, nevertheless, some articles to introduce the stories, every month.

Paperinik (2017-)

With the popularity of Paperinik, could we not have a title dedicated to him? Many times the numeration has been rebooted and at every iteration there has been the will to change some minor aspect (proposing a chronological reprint of the stories of the Duck Avenger, publishing the Frittole series, importing some Egmont stories or some DPW ones, getting more "social") but its identity has stayed more or less the same. The title is monthly and the covers are now by Ivan Bigarella.

Zio Paperone (2018-)

This is a more interesting title. Zio Paperone in its previous iterations was the magazine for the "collectors", the Donaldists, if I may say, focusing on Carl Barks, Don Rosa and the artists perceived as the heirs of the Man of the Ducks. The articles and the analysis have been so important for the more cultured readers that it was the go-to title for everyone interested in behind the scenes and te re-discovery of lost material. This new book, started years after the demise of the previous one, has a very different aim: it is pretty much the equivalent of Paperino, but for Uncle Scrooge. The choice of stories has, instead, been pretty interesting, as they always publish a new story (Egmont or, more often, dutch), the "Superstar" adventure in every monthly issue is really a source of interest in many ways. There are a few more articles than the norm (2) and they care to publish even some series (and complete them, do you hear, BIG?). The cover artist is Andrea Freccero.

Almanacco Topolino (2021-)

We end this first episode with the heir of Zio Paperone, the current title for more cultured readers, Almanacco Topolino. Its role is easy: to publish selected new foreign stories, older international stories with some significance and a couple of episodes originally published in the previous historical series of Almanacco. The link between all of these proposals is, among others, the fact that it is mostly dedicated to 4 rows per page stories. Originally edited by Luca Boschi, his mantle has passed to Davide Del Gusto and recently to Marco Travaglini. It has plenty of articles, to dive deep in the Disney lore and it is published once every three months. The cover artists is Emmanuele Baccinelli.

Next time we will dive into the less regular magazines, divided between the more popular ones and the prestige titles.

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DUCK VILLAINS

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Old arts that I haven't posted here