This is Bolderbast, part of the website.

Additional information about story credits

This page contains general information about Disney comics that can not be put in a structured way in Inducks.

About Carl Barks paintings

When Carl Barks retired from doing comic books in 1966 he started painting in oil in his newly acquired free time, mostly landscapes. Then some years later a fan asked him to do a Donald Duck in oil, and Disney, miraculously enough, okayed it. Some years later (1976) Disney told Barks that he no more was allowed to do paintings with Disney characters. Then he continued in this new somewhat cartoony style with ducks and other waterfowl that weren't Disney characters.

In 1980 the luxury book Uncle Scrooge McDuck His Life and Times appeared from Another Rainbow, with a signed lithograph "Wanderers of Wonderlands" by Barks with every copy, so Another Rainbow had made some deal with Disney so that Barks once more was allowed to do paintings with Disney characters. From 1982 on Another Rainbow has been releasing lithographs made from Barks paintings.

In Inducks we have a list of Barks's oil paintings with Disney motifs. The information comes from _The Fine Art of Walt Disney's Donald Duck by Carl Barks_ and is typed in by Harry Fluks, with some additional information from "The Well Wrought Oil" by John Garvin in "The Barks Collector" #39--42, noted by Per Starbäck. Some additional information by David Gerstein.

Some notes:

The codes of the oils are CB OIL x, where x is a rather arbitrary number telling the order in which Barks made the paintings.

Sometimes the "Plate Numbers" of these paintings are referred to, but that's not the same thing. Barks gave the paintings numbers too (in the form 75/2, 75/3, etc.)

CB OIL 124-136 were made into a series of lithographs.

CB OIL 135: The title was re-titled for the Japanese market. See CBL VI, p.550.

CB OIL 141 was the last Barks painting for Another Rainbow.

The cover of Gladstone Giant Album #5 (illustrating "The Gilded Man") is a preliminary version of a painting for which the final draft was never done. Gladstone issued it and other "unfinished" paintings as a special set in 1989 or so. While some of the paintings were rough drafts for the finished lithos, others were ideas never used elsewhere. [David Gerstein]

More information from an eBay auction web page ("friedolin", 26-7-1999):
This scene is taken from "The Gilded Man"-story (1952). "Stamp Collector's Bad Moment" is an idea sketch Carl painted in oil on masonite as he did it most with all his other oil paintings. What is an idea sketch? In the seventies Barks did a collection of approximately 20 paintings what he himself called "idea sketches". This oils were smaller and a little bit rougher than what he (at that time) understands as a finished oil. After he did about 122 oils between 1972 and 1976, at least one painting a week, the Disney permission for him to paint was stopped. After a few years of non-Disney-oils and other paintings, he got the Disney permission back when he was honored as a Disney-legend at his 80th birthday. Meanwhile he got tired about the hurry from the late seventies Disney oils. He now preferred doing only a few, but well composed oils. He did some experiments of composing the characters, the light, colors, perspective and so on. And finally - he painted that ideas in oil. This idea sketches like "Stamp Collector's Bad Moment" might be comparable to the oils of the seventies but Carl¦s intention of painting has gotten a new quality: they all should be reproduced as a fine art lithograph for a price, most of the oils of the seventies were sold for. So not even all idea sketches were redrawn as a big gloomy popular painting and the others, what his publisher don't like to reproduce kept the label idea sketch.
(The following information is, unless noted otherwise, from Alberto Becattini. Gathered by François, August 1997.)


The writers of the L'il Bad Wolf stories published in WDC in 1956-57 were Carl Fallberg, Nick George and Vic Lockman (according to an article published in WDC 602).

Gil Turner wrote some of the L'il Bad Wolf stories he drew (those published between 1947 and 1957 in WDC).

Most of the Hiawatha stories published in Walt Disney's Comics and Stories (issues 143 to 168) were written by Del Connell.

Most titles in "Cheerios Premiums" (Premiums published in the USA) were written by Chase Craig.

According to writer Carl Fallberg, many of the Mickey Mouse serials published in WDC (issues 123 to 394) that are not credited to someone in Inducks may in fact have been written by Don Christensen.
(Information from John Clark, in an index published in MM 255)


Victor A. Rios (Vicar) did not ink himself. He has two assistant inkers (according to a 1990 interview with him).

Daniel Branca has been doing pencils only since 1993-1994. He has one assistant inker, but he did ink everything before 1993 or so (according to an article published in a Gladstone comic).


Source: Harry Fluks
Most of the Dutch Wolf and Hiawatha stories, made by the Toonder Studios in 1965-1969, were written by Andries Brandt and/or Patty Klein.


Among Italian artists that are currently doing their own inking there are: Guido Scala, Giovan Battista Carpi, Massimo De Vita, Romano Scarpa (in part), Fabio Celoni, Silvia Ziche, Francesco Guerrini, Alberto Lavoradori, Claudio Sciarrone, Paolo Mottura, Luciano Bottaro, Giampiero Ubezio, Roberto Marini, Stefano Intini, Gino Esposito, Salvatore Deiana, Andrea Freccero, Corrado Mastantuono.

Among those who do not ink there are: Giorgio Cavazzano (Sandro Zemolin inks), Luciano Gatto (Roberto Gatto inks), Maria Luisa Uggetti (Tiberio Colantuoni inks), Franco Valussi (Massimiliano Calò inks).


Rubén Torreiro from Jaime Diaz is possibly the inker of the Adolf Urtiága and Annibal Uzál "Mickey and the sleuth" Disney studio stories.

Alberto Becattini wrote in "I Maestri Disney" 10:
The S-coded stories drawn by Italian artists were sent to Mondadori as short typed synopsis. In the first years, the scripts were written by Gaudenzio Capelli, Mario Gentilini, Gian Giacomo Dalmasso and Michele Gazzarri, and after the artists themselves were often the writers of the dialogues, beginning with Romano Scarpa, Luciano Bottaro and Giovan Battista Carpi. Sometimes only the title and the find of the American script remained in the final story.


Information from François (with thanks to Disney Hachette Presse)

Around 1993 to about 1995, most of the Mickey "enigme" pages were done by Péhel and Nawa. They did them together, one doing parts of pencil and ink, the other doing the other parts. So such a page credited to one of these artists in Inducks (in the period 1993-96) may have (small) parts of it done by the other artist.

The Disney Babies gags uncredited in the "Journal de Mickey" are almost all credited to Gérard Cousseau and Jean-Lonc Belhomme. However it is known that François Corteggiani did a dozen gag scripts at the very beginning, but nobody seems to remember which.

Starting around 1992, the covers (+ illustrations on third page) of "Super Picsou Géant" were all drawn by Giorgio Cavazzano. Yannick Hodbert, Jean-Luc Cochet (and in some rare cases, Patrice Croci and François Pasquet) produced the ideas for these covers, usually after a "cover idea meeting".
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