Friday, 23 June 2017

Moses

Strip 21 - click on the image to enlarge

Strip 22 - click on the image to enlarge



Friday, 9 June 2017

Glycerin

Strip 17 - click to enlarge 

Strip 18 - click to enlarge


(See below for the Italian version - Di seguito la versione italiana)

It’s time to get to know some of the McKenzie Farm’s characters a little better. Let’s start with Glycerin the Duck, who makes an appearance in strip number 17 (above), and who we have already seen in strip 13.



As he will not fail to prove to you, Glycerin is possibly (well, definitely) the least intelligent animal on the farm, and totally unaware of it. Having said this, he does also some qualities: he is always full of optimism, although it’s probably dictated by the total lack of self-awareness and deep-rooted ignorance that keep him from understanding everything that surrounds him.

He is incapable of taking care of himself and suffers from a severe lack of morals, but he is nevertheless accepted among his companions if only because they are aware of the fact that he is completely devoid of intelligence. He survives thanks to Moses’s strict but paternal guidance and his patient best friend, the Pig.

Keep tuning in for more strips every Tuesday and Friday!

In the next post, Kant the Pig.

For more information please write to info@lupoalberto.it or visit www.lupoalberto.it



Tuesday, 6 June 2017

Pantone 297 – Why is the Wolf Blue?

Strip 15 - (click on the image to enlarge)

Strip 16 - (click on the image to enlarge)


(Per la versione italiana, cliccate in basso "Read more" - For the Italian version, please click "Read more" below)

You may be wondering why Albert the Wolf is not the colour we expect wolves to be. Wolves tend to have grizzled grey coats, with some black or brown here and there. Why is Albert’s coat pale blue?




On the other hand maybe you haven’t been wondering about that at all, since all the strips published up to now have been black and white. However in Italy, where Albert is known for his eccentric colour, this is one of the questions the author, Silver, gets asked the most. 


In any case, here is your answer: it hasnt been really an artistic or aesthetic choice at all. Albert the Wolf came to life purely in black and white and nobody cared what colour he was, least of all Silver. But the years passed and it just so happened that he was faced with the task of assigning Albert a colour.

He immediately thought of Siberian wolves, with their grey furs and blue undertones. But the publishers never seemed to get the balance of blue and black quite right, and Albert was left with an uncertain, constantly changing colour. A decision had to be made, and Silver decreed that the Wolf should be an unambiguous shade of blue, 60% cyan to be precise, aka Pantone 297.

Keep tuning in for more strips every Tuesday and Friday!





For more information please write to info@lupoalberto.it or visit www.lupoalberto.it


Friday, 2 June 2017

Fistfuls of Corn

Strip 13 - (click on the image to enlarge)

Strip 14 - (click on the image to enlarge)


Now that our first interview with Silver is over, we have decided to let the strips to the talking.

Keep tuning in for more strips every Tuesday and Friday!

(And, in the meantime, click here to enjoy a vintage gameplay of Lupo Alberto – The Videogame. Albert the Wolf’s videogame was created in 1990 for Amiga, Atari ST and Commodore 64. Just like in the strips, Albert and Martha have to surpass countless obstacles in order to be able to – finally – hook up in peace. Comment below if, like us, you’d love to see this retro platform game re-issued.)



For more information please write to info@lupoalberto.it or visit www.lupoalberto.it


Tuesday, 30 May 2017

The First Ten Strips

Strip 11 (click on the image to enlarge)

Strip 12 (click on the image to enlarge)

…continued from the previous post.

Why a wolf?

This is the question I get asked the most. Well, because if I had picked a pelican, you would have asked, “Why a pelican?”

We expect there to be precise reasons behind each decision authors make; we think authors always make decisions lucidly and consciously – even the most irrelevant ones. It is not always so.

Creativity constantly places us at a crossroads. Choosing which way to go is an irrational process; it is based on instinct. In certain cases it can be rational, but in that case the artistic process is manufactured.

When I was twenty years old I had no idea what it meant to manufacture the artistic process and, to be honest, I still don’t. In order to manufacture something like that you need cross-sectional data from market research, you need skills that you can show off, and, most importantly, a dupe who will fall for it.

At twenty, I had none of that. I only had this stomach ache that just wouldn’t go, made up of bits of Peanuts, some Krazy Kat residue, Pogo crumbs, and an aroma of Wile E. Coyote. And suddenly all these contents were coming back up, up… Until I finally vomited them all out.

One of the many publishers who, at the time, used to make good money with comics, decided to launch a tabloid-size publication (we later discovered that the tabloid format is very unlucky for comics!). A few years before, a publication called Off-side had been launched using the same format, introducing authors like Crepax and Bonvi.

This new publication, which had yet to be filled with any sort of content, was to be called Undercomics, as tribute to the countercultural movements that were developing in those years. Bonvi, who was to be Undercomic’s backbone, told me, “Why don’t you try and do something yourself?”

“H-how long do I have?” I asked.

“As long as you want. Say, ten days.” Ten days.

Ten days.

Ten days to digest and give birth to a whole twenty-year-old baggage of dreams, ambitious projects, unsophisticated sketches hidden in drawers, ideas, notes, stylistic influences, afterthoughts, aborted attempts, and enthusiasm soaked with doubt…

I can still feel the devastating anxiety and can still see that first blank strip of thick white paper, staring up at me sardonically. What happened after that is all here: these first ten strips.

For reasons I ignore, Undercomics never made it to the press. I held on to those unpublished strips for quite some time. Until my very own ‘prince charming’, in the person of Giancarlo Francesconi, legendary director of the Corriere dei Ragazzi, happened to see my strips, fall in love with them, and take them back to him castle.

And they lived happily ever after.

***

Watch out for new posts every Tuesday and Friday.



For more information please write to info@lupoalberto.it or visit www.lupoalberto.it