Santiago Scalabroni Ceballos

Santiago Ceballos, William Van Horn, Paul Murry, Don Rosa, etc.

Postby Egg » Wed May 10, 2006 6:23 am

Rob Klein, on the Dutch section:
That foreigner was Santiago Scalabroni Ceballos, an (Argentine?) artist from "The Spanish Studio" clearinghouse of artists used to draw the bulk of Egmont's production. He specialised in drawing 4-6 page Gyro Gearloose stories (especially of mine and Lars Jensen's in the 1990s and early 2000s. He also draws a few Donald and Scrooge stories. He saw his name mentioned in a thread in The Dutch "Carl Barks" thread category, but didn't understand the Dutch writing. He left his e-mail address, and asked to be contacted in Spanish or English for questions answered. He drew ALL my Gyro stories, and I feel lucky, as I prefer his drawing style to almost all the Egmont Spanish artists, except Branca. Other than Branca, I would have liked only Jippes more to draw my stories (Van Horn and Rota are also okay, but I feel no better than Scalabroni. Here is a sample of his style (from one of my stories from 1992):

Image

http://forum.mcduck.nl/viewtopic.php?pid=36445#p36445
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Postby WB » Wed May 10, 2006 10:03 am

Eh. Not my cup of tea personally. His dogface characters are a bit too stiff and "faux-Paul Murray-ish" for my tastes (something I don't really dig in a lot of the studio artists).

He does however draw a nice Gyro. In terms of the spanish artists, next to Branca and Vicar, the only other one I've grown fond of as of late is Wanda Gattino. At least I think thats her (his?) name. She draws so much in the style of Branca that until I checked the credits I almost thought it was him. :)
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Postby Anastasia » Wed May 10, 2006 7:41 pm

Egg wrote:Rob Klein, on the Dutch section:
That foreigner was Santiago Scalabroni Ceballos, an (Argentine?) artist from "The Spanish Studio" clearinghouse of artists used to draw the bulk of Egmont's production. He specialised in drawing 4-6 page Gyro Gearloose stories (especially of mine and Lars Jensen's in the 1990s and early 2000s. He also draws a few Donald and Scrooge stories. He saw his name mentioned in a thread in The Dutch "Carl Barks" thread category, but didn't understand the Dutch writing. He left his e-mail address, and asked to be contacted in Spanish or English for questions answered. He drew ALL my Gyro stories, and I feel lucky, as I prefer his drawing style to almost all the Egmont Spanish artists, except Branca. Other than Branca, I would have liked only Jippes more to draw my stories (Van Horn and Rota are also okay, but I feel no better than Scalabroni. Here is a sample of his style (from one of my stories from 1992):

http://s77.photobucket.com/albums/j56/Robb_K/Gyro1A.jpg

http://forum.mcduck.nl/viewtopic.php?pid=36445#p36445
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Postby Egg » Thu May 11, 2006 10:51 pm

Santiago Scalabroni Ceballos has a website including examples of his Disney and non-Disney work.

Image

www.scalabroniceballos.com
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Postby Egg » Thu May 11, 2006 10:53 pm

Image
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Postby Stephan » Fri May 12, 2006 11:54 pm

I love the last page, great emotion.
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Postby Robb_K » Sat May 13, 2006 1:55 am

Yes! He's very underrated as far as current Disney Duck artists go.
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Postby Santiago Scalabroni » Sun May 14, 2006 7:40 pm

Thank you, Egg, for this space and thanks Robb_K for your comments on my work ( they mean a lot to me , especially now that for a number of misunderstandings I am not working for Egmonts as I would wish). I confess I miss intensively Helge Barner' s glorious era , when artists were offered all necessary support , respect and freedom to create. Mr. Barner as an Art Director was serious , demanding , responsible , cordial and sensitive. I guess he used to invest time and effort in discovering affinities between scriptwriters and cartoonists . That 's how your scripts came to my hands , dear Robb, ( like the scripts of Lars Jensen, Paul Halas , John Kane, Shaun Crail , Pat and Shelly Block, among approximately 70 more authors ). I still remember how much I enjoyed the first reading and sometimes I laughed to tears with the originality of their ideas and humour. I always felt grateful for Robb' s fluency in telling a story and driving me into his concepts without creating conflicts or holding my pencils . I definitely wish we had a second chance to work together.
Santiago Scalabroni
 

Postby Robb_K » Sun May 14, 2006 9:58 pm

Santiago Scalabroni wrote:Thank you, Egg, for this space and thanks Robb_K for your comments on my work ( they mean a lot to me , especially now that for a number of misunderstandings I am not working for Egmonts as I would wish). I confess I miss intensively Helge Barner' s glorious era , when artists were offered all necessary support , respect and freedom to create. Mr. Barner as an Art Director was serious , demanding , responsible , cordial and sensitive. I guess he used to invest time and effort in discovering affinities between scriptwriters and cartoonists . That 's how your scripts came to my hands , dear Robb, ( like the scripts of Lars Jensen, Paul Halas , John Kane, Shaun Crail , Pat and Shelly Block, among approximately 70 more authors ). I still remember how much I enjoyed the first reading and sometimes I laughed to tears with the originality of their ideas and humour. I always felt grateful for Robb' s fluency in telling a story and driving me into his concepts without creating conflicts or holding my pencils . I definitely wish we had a second chance to work together.

Hi Santiago,

Thank you for your kind words. I'm sorry to hear that you are no longer working for Egmont (especially as I have started submitting stories to them again). Your work will be missed. it was an honour to have my stories done by you. I only wish that the process at Egmont would be more personal, and that we could have worked together in person, the way I did and still do with Jan Gulbransson. I think it is a lot of fun to work together and collaborate with other writers and artists on stories, the way I have with Gorm Transgaard, Frank Jonker, Freddy Milton and Daan Jippes. All the different creators bring different talents, ways of looking at things and senses of humour to a story. ALL the artists I've met were sympathetic people and very nice to be with.

I'm glad McDuck.NL Forum was thoughtful enough to place this English Forum along with our main Dutch one, so that International artists and fans can join in our discussions. Through it, I was able to find out about your website and see your fine artwork of varying styles. Few of the comic book fans realise that most of the comics artists (and even a lot of the scriptors) are FINE artists in their own right (away from comic book styles). We scriptors for Dutch Disney ALL have to be able to draw our scripts decently, unlike Egmont, where they can submit only written scripts. I was very impressed with your human figures and life drawing. Few fans realise that, in order to draw "cartoony" figures and make them look alive, and their movements look real, the artist has to know much about the anatomies of people and animals. When one submits a portfolio for an animation job, it must be full of humans and animals in motion. Cartoon drawings aren't even necessary. The director knows that if you gan draw living things, cartooning (simplifying) them will be easy.

Good luck with your other work.

And I hope to see your posts on this forum again.
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Postby Rockerduck » Wed May 17, 2006 11:26 pm

Mr. Scalabroni, may I ask you exactly why you're not working for Egmont any longer?
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Postby Santiago Scalabroni C. » Fri May 19, 2006 11:09 am

Rockerduck wrote:Mr. Scalabroni, may I ask you exactly why you're not working for Egmont any longer?

We all know that comix is realised first in pencil and then in ink . Certain publishing houses ( DC , Marvel etc.) divide the work in two and deal directly with pencilers and inkers independently. Egmont buys only the whole work finished , so a penciler depends completely on his inker's capacity, fluency, honesty and responsibility, when his eyes are not that precise ( like in my case ) after having covered the whole spectre of this profession ( pencils, ink, cover ideas and realisation) with continuity in the same company since 1977 ( see INDUCKS ).
I was not that lucky to meet a professional like J. Torreiro who took on the responsibility of inking Daniel Branca's work for the last ten years .
I hope to have answered your question , Rockerduck .
Santiago Scalabroni C.
 

Postby Robb_K » Fri May 19, 2006 11:39 am

Santiago Scalabroni C. wrote:
Rockerduck wrote:Mr. Scalabroni, may I ask you exactly why you're not working for Egmont any longer?

We all know that comix is realised first in pencil and then in ink . Certain publishing houses ( DC , Marvel etc.) divide the work in two and deal directly with pencilers and inkers independently. Egmont buys only the whole work finished , so a penciler depends completely on his inker's capacity, fluency, honesty and responsibility, when his eyes are not that precise ( like in my case ) after having covered the whole spectre of this profession ( pencils, ink, cover ideas and realisation) with continuity in the same company since 1977 ( see INDUCKS ).
I was not that lucky to meet a professional like J. Torreiro who took on the responsibility of inking Daniel Branca's work for the last ten years .
I hope to have answered your question , Rockerduck .

Hi Santiago. Good to see you back on our forum, again. Do I understand correctly, then, that if you were to find a new highly-qualified (and responsible) inker, that you could work once again for Egmont?
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Postby Santiago Scalabroni C. » Fri May 19, 2006 12:12 pm

Robb_K wrote:
Santiago Scalabroni C. wrote:
Rockerduck wrote:Mr. Scalabroni, may I ask you exactly why you're not working for Egmont any longer?

We all know that comix is realised first in pencil and then in ink . Certain publishing houses ( DC , Marvel etc.) divide the work in two and deal directly with pencilers and inkers independently. Egmont buys only the whole work finished , so a penciler depends completely on his inker's capacity, fluency, honesty and responsibility, when his eyes are not that precise ( like in my case ) after having covered the whole spectre of this profession ( pencils, ink, cover ideas and realisation) with continuity in the same company since 1977 ( see INDUCKS ).
I was not that lucky to meet a professional like J. Torreiro who took on the responsibility of inking Daniel Branca's work for the last ten years .
I hope to have answered your question , Rockerduck .

Hi Santiago. Good to see you back on our forum, again. Do I understand correctly, then, that if you were to find a new highly-qualified (and responsible) inker, that you could work once again for Egmont?

Yes , Robb , you understand very well. I would start working again today , if I met a responsible inker and qualified enough to follow the fluent line of Carl Barks's style.
Santiago Scalabroni C.
 

Postby Rockerduck » Fri May 19, 2006 3:45 pm

Thank you for answering my question, Mr. Scalabroni.
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Postby Robb_K » Sat May 20, 2006 11:02 am

Santiago Scalabroni C. wrote:
Yes , Robb , you understand very well. I would start working again today , if I met a responsible inker and qualified enough to follow the fluent line of Carl Barks's style.

Yes , Robb , you understand very well. I would start working again today , if I met a responsible inker and qualified enough to follow the fluent line of Carl Barks's style.

Santiago:

I only wish I were a good enough inker to do your inking for Egmont. But, unfotunately, as I only started drawing and going to art school at 38 years of age, I've had to concentrate only on my pencil drawing. Inking, as every cartoonist knows, is its own very unique discipline, which takes years of experience toperfect. I know a few inkers (some of whom inked for Jan Gulbransson for Oberon. But they would not be accepted as inkers for Egmont (nor would they even be accepted by Sanoma Uitgevers (Dutch Disney Comics) today. If I Do come across a great and responsible inker, I will refer him/her to you.
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