How did you work on it? You made a thousand redrawings and changĮd your mind a lot, or you went with the "first take"?
► What was your approach to your first cover illustration (Tex 401, "L'oro di Klaatu")? I believe you felt some pressure, since you were carrying the torch handed down by a beloved artist like Galep.
The more you draw it, the more you learn about him, allowing your portrait of the character to become more well-rounded. Just like with real people, you never stop learning new things about a comics character. I had to learn the Ranger's psychology from scratch, and the first time I went spectacularly wrong- I drew a frowning Tex from the first page to the last one, so much so that a reader labelled me as more suited as an artist for Diabolik! Not to mention the hats, one of the most difficult things to draw: I did giant hats, a sign of my psychological worries, and I had to "resize" them before the album was printed.Ĭlaudio Nizzi helped me understand the character and, little by little, I came to know Tex better. My first Tex's story was a real joy for me, because I finally had the chance to draw Western comics, a genre that I always loved, but my approach to Tex was anything but joyous. ► First of all, congratulation for achieving this goal! As a reader, I still have an indelible memory of the huge impact your style had on the pages of the Ranger's series: what are your recollections of your debut, first as a drawer and then as the cover artist? To celebrate his non-stop, 20-year-long activity as the "interpreter" of this key role, we stole a moment of the precious time of the artist from Lomazzo (Co) – snowed under with work, as usual – to ask him what's behind the work on one of Tex's cover. 401 marked the official beginning of Claudio Villa's career as the cover artist for the albums of the most famous Ranger in Italian comics.
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