Shaun:
> my understanding of the system is that the text shouldn't be a
> major barrier because the translations are applied onto the black
layer of the printing seperations *after* the rest of the colouring is done
You didn't quite understand what I wrote:
>> One reason for not wanting to use the European colouring is that
>> Gladstone changes the text balloons, so their English texts would fit
>> better.
The *size* of the *balloons* would differ. Which means whole areas of
background would have to get a color where there was no colour before.
Or vice versa.
Unlike in the Egmont countries, Gladstone and Holland sometimes
translate a story, changing balloon sizes, and *then* have it
re-colo(u)red.
> For example Egmont show Beagle Boys in red sweaters while Gladstone
> has them in orange.
In Holland, you can tell the difference between original Dutch colours
and Egmont colours: the Dutch give Scrooge's red coat a green collar.
(Hm.. Collar? Color? or Colour? 8-)
--Harry.
Author
Topic: 199805
(261 messages)
Fluks, H.W.
Colouring (in Europe) and coloring (in the USA)
Message 181 -
1998-05-19 at 12:06:58
Santiago García Baños
Disney and USA laws
Message 182 -
1998-05-19 at 12:08:58
DON:
>So, in other words, all kidding aside, Disney *does* say they own your
>school report, fully and completely, if you used a Disney image on the
>paper. And you can't afford to disagree with them.
I'm sure this idea was taken from Scrooge himself!
SKN.
>So, in other words, all kidding aside, Disney *does* say they own your
>school report, fully and completely, if you used a Disney image on the
>paper. And you can't afford to disagree with them.
I'm sure this idea was taken from Scrooge himself!
SKN.
Mikko Pohjola
Disney copyrights
Message 183 -
1998-05-19 at 12:21:57
DISNEY COPYRIGHTS:
Don wrote a descriptive and interesting essay on Disney Company's view on
the copyright law. But does this mean only pictures credited to Disney, or
all pictures of their characters? For example, if Sergio Aragones made a
Mickey Mouse scetch on a Mad margin (making fun of the character's
appearance, not using the character as itself), could Disney claim to own
that? If a Disney comics fanzine publishes an article about Carl Barks and
illustrates it with a part of a comics panel with Scrooge in it, could
Disney claim to own that? If I make a web page about Disney and insert a
silhouette picture of Donald, could Disney claim to own that? Or would it
be enough to use "All pictures (c) Walt Disney Company"?
Mike - The Finnish Trekkie
Don wrote a descriptive and interesting essay on Disney Company's view on
the copyright law. But does this mean only pictures credited to Disney, or
all pictures of their characters? For example, if Sergio Aragones made a
Mickey Mouse scetch on a Mad margin (making fun of the character's
appearance, not using the character as itself), could Disney claim to own
that? If a Disney comics fanzine publishes an article about Carl Barks and
illustrates it with a part of a comics panel with Scrooge in it, could
Disney claim to own that? If I make a web page about Disney and insert a
silhouette picture of Donald, could Disney claim to own that? Or would it
be enough to use "All pictures (c) Walt Disney Company"?
Mike - The Finnish Trekkie
Ornils
Rebus-saga
Message 184 -
1998-05-19 at 13:45:27
About the new "Mammut-book" Soeren mentioned, it's curious that
while chapters 3 and 4 of the "Rebus-saga" are in that book, and
chapter 2 in the one from two summers ago, the very first chapter from
Topolino #230-233 (yes, the same that had as Scarpa's "Collana Chirikawa";
those were the days of wine and roses!) has not been published in neither
Denmark nor Germany (AFAIK).
It's been reprinted no less than three times in Italy however...
If Egmont had just collected the full 259 pages in one book instead,
it would have been a great collection, spanning over several decades
of Bottaro art.
It's also curious that the last two chapters marks a return for Bottaro
to the pages of Topolino. Except for one story his last contribution was
chapter 2 - about 20 years ago! His style hasn't changed much, and it's
somehow refreshing to see an artist who hasn't been through the usual
"cavazzanizing" schooling, that makes much modern Italian art look so
similar. Though it's confusing to see Egmont crediting several quite
obviously different art styles to the Comicup studio.
Along with the 512 page "Mammut 4" another (apparently even bigger!)
giant digest came out the same day in occasion of the 30 year anniversary
of the Danish "Jumbobog". It looked like all reprints, but unless it's been
edited specifically for the Danish market, a few previously "new" stories
may have found their way in from the German editions.
oLe
V
while chapters 3 and 4 of the "Rebus-saga" are in that book, and
chapter 2 in the one from two summers ago, the very first chapter from
Topolino #230-233 (yes, the same that had as Scarpa's "Collana Chirikawa";
those were the days of wine and roses!) has not been published in neither
Denmark nor Germany (AFAIK).
It's been reprinted no less than three times in Italy however...
If Egmont had just collected the full 259 pages in one book instead,
it would have been a great collection, spanning over several decades
of Bottaro art.
It's also curious that the last two chapters marks a return for Bottaro
to the pages of Topolino. Except for one story his last contribution was
chapter 2 - about 20 years ago! His style hasn't changed much, and it's
somehow refreshing to see an artist who hasn't been through the usual
"cavazzanizing" schooling, that makes much modern Italian art look so
similar. Though it's confusing to see Egmont crediting several quite
obviously different art styles to the Comicup studio.
Along with the 512 page "Mammut 4" another (apparently even bigger!)
giant digest came out the same day in occasion of the 30 year anniversary
of the Danish "Jumbobog". It looked like all reprints, but unless it's been
edited specifically for the Danish market, a few previously "new" stories
may have found their way in from the German editions.
oLe
V
SRoweCanoe
Disney comics Digest V98 #125
Message 185 -
1998-05-19 at 13:58:40
In a message dated 98-05-19 03:35:22 EDT, Luca B wrote:
<< Pasquale (nicknamed "Lino")
Gorlero. Well, he worked for Disney Italia, until an year ago or so.
Later he was "scolded" for a "strange thing" he made in a story drawn
by him (if I well remember, actually it was discussed and/or showed in
a jif on this same list). A columnist "discovered" the "strange
thing", wrote an article about on an italian newspaper and everything
was put "on line". So, the artist *stopped* to work for Disney Italia. >>
Hmm, was this "strange thing" something that about half the population has, or
was this another strange thing?
Speaking of other strange things, I've just read Walt Disney's Comics and
Stories 623, and was surprised by the dialogue of "What a load of cow chips"!
After our discussion of how many "Shut ups!"is acceptable, I was flabbergasted
by this.. Is this acceptable or does Disney not know what Cow Chips (or Horse
Hockey) is?
I also recognized all three of the stories requested in the letter coloumn
(three from circa 1966 - although I believe one is a reprint from the 50s).
Steven Rowe
<< Pasquale (nicknamed "Lino")
Gorlero. Well, he worked for Disney Italia, until an year ago or so.
Later he was "scolded" for a "strange thing" he made in a story drawn
by him (if I well remember, actually it was discussed and/or showed in
a jif on this same list). A columnist "discovered" the "strange
thing", wrote an article about on an italian newspaper and everything
was put "on line". So, the artist *stopped* to work for Disney Italia. >>
Hmm, was this "strange thing" something that about half the population has, or
was this another strange thing?
Speaking of other strange things, I've just read Walt Disney's Comics and
Stories 623, and was surprised by the dialogue of "What a load of cow chips"!
After our discussion of how many "Shut ups!"is acceptable, I was flabbergasted
by this.. Is this acceptable or does Disney not know what Cow Chips (or Horse
Hockey) is?
I also recognized all three of the stories requested in the letter coloumn
(three from circa 1966 - although I believe one is a reprint from the 50s).
Steven Rowe
Luna Storta
Lino Gorlero
Message 186 -
1998-05-19 at 15:33:11
Hello,
>> Another artist, Gorlero, has suddenly changed from normal
>> I-coding to D-coding, does anyone have details about that.
>So, the artist *stopped* to work for Disney
>Italia. And started to draw for another publisher. That's (quite)
>all.
Well, I'm really happy to know that Gorlero will draw again Disney
characters: I still remember his interpretations in "I Mercoledi' di
Pippo". Together with Silvia Ziche he is one of the FEW new authors that
I like!
Ciao,
- Paolo
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
>> Another artist, Gorlero, has suddenly changed from normal
>> I-coding to D-coding, does anyone have details about that.
>So, the artist *stopped* to work for Disney
>Italia. And started to draw for another publisher. That's (quite)
>all.
Well, I'm really happy to know that Gorlero will draw again Disney
characters: I still remember his interpretations in "I Mercoledi' di
Pippo". Together with Silvia Ziche he is one of the FEW new authors that
I like!
Ciao,
- Paolo
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
Poul S. Frøkjær
Barks lawsuit? and Murry
Message 187 -
1998-05-19 at 16:25:45
MICHAEL NAIMAN:
Thanks for keeping us updated with the Barks lawsuit situation.
I am very glad to hear that the case has been dropped. You promised to
follow up further with info on this new situation. Please do, please do....!
On the Paul Murry debate:
I LOVE Paul Murrys stories (drawings). To me, his Mouse is the *real* one.
And dont get me wrong here: Gottfredsons stories are classics but what
made me my nails short when I was 7 was definitely Murrys Mickey stories.
(But who am I to judge: -I also favour a lot of Barks later stories to the ones
from the 50ies....)
Poul Frokjar
Denmark
Thanks for keeping us updated with the Barks lawsuit situation.
I am very glad to hear that the case has been dropped. You promised to
follow up further with info on this new situation. Please do, please do....!
On the Paul Murry debate:
I LOVE Paul Murrys stories (drawings). To me, his Mouse is the *real* one.
And dont get me wrong here: Gottfredsons stories are classics but what
made me my nails short when I was 7 was definitely Murrys Mickey stories.
(But who am I to judge: -I also favour a lot of Barks later stories to the ones
from the 50ies....)
Poul Frokjar
Denmark
Poul S. Frøkjær
Censored art.
Message 188 -
1998-05-19 at 16:28:09
Does anyone on this list know about censored Disney art done by others
than Barks?
What I mean to say is that there is a lot of information on Barks, what he
did, what was censored, what was saved and what was lost. But when it
comes to all the other artists like Gottfredson, Hubbard, Strobl, Murry,
Talliferro, Scarpa etc., I dont think I have never heard about one single
panel that has been ill-fated. Were they all Mr. Nice-Guys that did nothing
wrong at any time ???
I know that *later* quite a few stories has been blacklisted, edited etc. but
what I refer to are stories that were censored at their first printing -if they
were printed...
I know that Barks was a little special because he often did his stories from
idea to inked page which meant that censors did not have the same
opportunity to stop ideas at an early stage. Still, I cant believe he should
have been the only victim of the comic book censoring raids of the 50ies.
Anyone knows anything I dont?
Poul Frokjar
Denmark
than Barks?
What I mean to say is that there is a lot of information on Barks, what he
did, what was censored, what was saved and what was lost. But when it
comes to all the other artists like Gottfredson, Hubbard, Strobl, Murry,
Talliferro, Scarpa etc., I dont think I have never heard about one single
panel that has been ill-fated. Were they all Mr. Nice-Guys that did nothing
wrong at any time ???
I know that *later* quite a few stories has been blacklisted, edited etc. but
what I refer to are stories that were censored at their first printing -if they
were printed...
I know that Barks was a little special because he often did his stories from
idea to inked page which meant that censors did not have the same
opportunity to stop ideas at an early stage. Still, I cant believe he should
have been the only victim of the comic book censoring raids of the 50ies.
Anyone knows anything I dont?
Poul Frokjar
Denmark
Gerstein, David DK - ECN
Goofy's homeland
Message 189 -
1998-05-19 at 16:29:05
Hey, gang.
Obscure question -=A0anyone in Scandinavia know a Mickey story
Egmont published in the early '70s that shows a backwoods village where
Goofy's family supposedly comes from? Apparently, all the residents of
this distant town are Goofs, or Goofy variants.
Just needed for reference.
Thanks,
David Gerstein
Obscure question -=A0anyone in Scandinavia know a Mickey story
Egmont published in the early '70s that shows a backwoods village where
Goofy's family supposedly comes from? Apparently, all the residents of
this distant town are Goofs, or Goofy variants.
Just needed for reference.
Thanks,
David Gerstein
Donald D. Markstein
Junkville Journal
Message 190 -
1998-05-19 at 16:38:09
DON ROSA --
If you're spending hundreds a year on copies, why not buy
a copier of your own? You can get a VERY good one for under a
thousand these days; and if the image area is too small for
original art, hey, copy it in two passes.
Another alternative would be a scanner. Really good ones
-- 1200 dpi or more -- are inexpensive and dropping. Of course,
such an image takes up a lot of disk space, but storage media are
also inexpensive and dropping. Last time I looked, CD burners
were down to $350, and that was six months ago; and the blank
disks themselves are down in the two-buck range. According to my
rough calculations, you could get at least 50 b/w 11x17 pages at
1200 dpi onto a CD, even without compression. Technically, it
would be only one copy; but you could make a hard copy any time
you needed one. The storage space would be minuscule, and you
could do the entire operation at home.
(Of course, you've got to remember, I'm kind of a fanatic
about getting as much of my work done at home as I possibly can.
Also, I have rather a fondness for high-tech toys.)
Quack, Don
If you're spending hundreds a year on copies, why not buy
a copier of your own? You can get a VERY good one for under a
thousand these days; and if the image area is too small for
original art, hey, copy it in two passes.
Another alternative would be a scanner. Really good ones
-- 1200 dpi or more -- are inexpensive and dropping. Of course,
such an image takes up a lot of disk space, but storage media are
also inexpensive and dropping. Last time I looked, CD burners
were down to $350, and that was six months ago; and the blank
disks themselves are down in the two-buck range. According to my
rough calculations, you could get at least 50 b/w 11x17 pages at
1200 dpi onto a CD, even without compression. Technically, it
would be only one copy; but you could make a hard copy any time
you needed one. The storage space would be minuscule, and you
could do the entire operation at home.
(Of course, you've got to remember, I'm kind of a fanatic
about getting as much of my work done at home as I possibly can.
Also, I have rather a fondness for high-tech toys.)
Quack, Don
Jack Ip
Disney comics Digest V98 #125
Message 191 -
1998-05-19 at 18:13:30
> From: "Don Rosa" <(Email removed)>
> In case you didn't know it, Disney does not agree with the "fair use"
> portion of copyright law. The *law* says that you can use any copyrighted
> image in a limited manner to illustrate a "scholarly" discussion. --
Heck...They even threatened a kindergarden here for plastering Disney characters in the classroom.Well, so
much for Disney being a family "thingy". :-)
/=======================================================================\
+ Jack IP +
+ (Email removed) +
+ (Email removed) +
+ ICQ # 6433224 +
+ Montreal, Quebec, Canada +
\=======================================================================/
> In case you didn't know it, Disney does not agree with the "fair use"
> portion of copyright law. The *law* says that you can use any copyrighted
> image in a limited manner to illustrate a "scholarly" discussion. --
Heck...They even threatened a kindergarden here for plastering Disney characters in the classroom.Well, so
much for Disney being a family "thingy". :-)
/=======================================================================\
+ Jack IP +
+ (Email removed) +
+ (Email removed) +
+ ICQ # 6433224 +
+ Montreal, Quebec, Canada +
\=======================================================================/
Katie Sullivan
Disney comics Digest V98 #125
Message 192 -
1998-05-20 at 03:06:13
> DON ROSA WROTE: In case you didn't know it, Disney does not agree with the "fair use"
> portion of copyright law. The *law* says that you can use any copyrighted
> image in a limited manner to illustrate a "scholarly" discussion. Disney
> does not agree with that because they're big enough to be able to slap
> people with lawsuits that they (Disney) would ultimately loose, but which
> the poor defendant could never afford to defend himself against. (This might
> come as a surprise to you Europeans since I understand that European justice
> is not on the side of the party with the money, as it is here.) So if you
> use a Disney image for "scholarly purposes", and you plaster it with
> copyright notices, this will NOT protect you.
Yikes! I guess I won't do *that* again! Thanks for the warning. How @#&$%$! What a shame that a company
that produces such neat entertainment has to be such a @$#&% about things like this. :-(
Katie Q
> portion of copyright law. The *law* says that you can use any copyrighted
> image in a limited manner to illustrate a "scholarly" discussion. Disney
> does not agree with that because they're big enough to be able to slap
> people with lawsuits that they (Disney) would ultimately loose, but which
> the poor defendant could never afford to defend himself against. (This might
> come as a surprise to you Europeans since I understand that European justice
> is not on the side of the party with the money, as it is here.) So if you
> use a Disney image for "scholarly purposes", and you plaster it with
> copyright notices, this will NOT protect you.
Yikes! I guess I won't do *that* again! Thanks for the warning. How @#&$%$! What a shame that a company
that produces such neat entertainment has to be such a @$#&% about things like this. :-(
Katie Q
Shaun Craill
Colouring (or *coloring* if you prefer)
Message 193 -
1998-05-20 at 04:40:06
Harry:
>Frank (& Claudia):
>> if e.g. Gladstone wants to use a new European story,
>> they most likely can't (or don't want to) use the European coloring, but
>> will do their own.
>One reason for not wanting to use the European colouring is that
>Gladstone changes the text balloons, so their English texts would fit
>better.
I'm no expert on the exact printing processes involved, but my understanding
of the system is that the text shouldn't be a major barrier because the
translations are applied onto the black layer of the printing seperations
*after* the rest of the colouring is done and I think is the last step
undertaken before the actual printing takes place. Because the black layer
is printed as a 100% black screen there should be no compatibility problems
between different printing systems used in different countries.
The other colours are a different issue. The successful build up of tonal
variations and blended colours depends strongly on paper type, ink type,
printing system, and computer colour seperation specification (dot screen
size and density). Another possible problem is that European comics have
slightly different colours for characters compared to the American comics.
For example Egmont show Beagle Boys in red sweaters while Gladstone has them
in orange.
The only influence writers have is to put the odd colour notation in the
margins such as: "Night sky" or "Donald red in face" etc.
Shaun
--------------------------------
End of Disney comics Digest V98 Issue #125
******************************************
>Frank (& Claudia):
>> if e.g. Gladstone wants to use a new European story,
>> they most likely can't (or don't want to) use the European coloring, but
>> will do their own.
>One reason for not wanting to use the European colouring is that
>Gladstone changes the text balloons, so their English texts would fit
>better.
I'm no expert on the exact printing processes involved, but my understanding
of the system is that the text shouldn't be a major barrier because the
translations are applied onto the black layer of the printing seperations
*after* the rest of the colouring is done and I think is the last step
undertaken before the actual printing takes place. Because the black layer
is printed as a 100% black screen there should be no compatibility problems
between different printing systems used in different countries.
The other colours are a different issue. The successful build up of tonal
variations and blended colours depends strongly on paper type, ink type,
printing system, and computer colour seperation specification (dot screen
size and density). Another possible problem is that European comics have
slightly different colours for characters compared to the American comics.
For example Egmont show Beagle Boys in red sweaters while Gladstone has them
in orange.
The only influence writers have is to put the odd colour notation in the
margins such as: "Night sky" or "Donald red in face" etc.
Shaun
--------------------------------
End of Disney comics Digest V98 Issue #125
******************************************
Didier Ghez
Picsou
Message 194 -
1998-05-20 at 14:52:47
Hi,
OK, here is the story behind the Picsou smell. =
The issue is about bad smells, indeed. However...
The bad smell was intended to be on a card included with the magazine. Wh=
en
the card was scratched, the smell was suppose to appear. If the card was
not scratched, the smell would not trouble you.
Unfortunately, the way the magazines were packed, combined with the heat
appeared to have had the same effect as a kid scratching the card. Thus t=
he
bad smell on all the magazines.
Magazines distributors and a lot of parents were of course furious, but a=
lot of persons talked about the magazine on TV.
Didier
OK, here is the story behind the Picsou smell. =
The issue is about bad smells, indeed. However...
The bad smell was intended to be on a card included with the magazine. Wh=
en
the card was scratched, the smell was suppose to appear. If the card was
not scratched, the smell would not trouble you.
Unfortunately, the way the magazines were packed, combined with the heat
appeared to have had the same effect as a kid scratching the card. Thus t=
he
bad smell on all the magazines.
Magazines distributors and a lot of parents were of course furious, but a=
lot of persons talked about the magazine on TV.
Didier
Luna Storta
DISNEY ON THE WEB
Message 195 -
1998-05-20 at 15:15:47
Hello,
Just a brief note to let you know of the existance of a NEW OFFICIAL
Disney site:
http://www.topolino.it
It's made directly from Disney Italia, and it has a DB of the stories
appeared in Italy in the last 4 years completely searchable!
Ciao,
- Paolo
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
Just a brief note to let you know of the existance of a NEW OFFICIAL
Disney site:
http://www.topolino.it
It's made directly from Disney Italia, and it has a DB of the stories
appeared in Italy in the last 4 years completely searchable!
Ciao,
- Paolo
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com