Luigi Corteggi
 | This article may be a rough translation from Italian. It may have been generated, in whole or in part, by a computer or by a translator without dual proficiency. (December 2019) |
Luigi Corteggi, also known by the pseudonym of Cortez (Milan, 1933, June 21- Casorzo, 2018, July 26)[1], was an italian illustrator. He is best known for his graphic work for Editoriale Corno and for Sergio Bonelli Editore, for which he created the graphics of famous magazines such as Kriminal and Dylan Dog. The most famous art director in the world of Italian comics is considered by specialized critics.[2][3]
Biography
Graduated at the Academy of Fine Arts of Brera, after having managed his own advertising studio for some years, he moved to publishing, collaborating first with Editrice Universo and then, from 1965, with Editoriale Corno, to take care of the graphics of the publications creating the logos of Kriminal, Satanik, Maschera Nera, Gesebel, Eureka, Alan Ford and many others as well as illustrating some of their covers and also making some drawings and inks for the boards; it also takes care of the graphics of the titles of the super-heroes Marvel Comics.[4][5] After having made some stories of Maschera Nera, he goes to Kriminal and Satanik, two characters from the italian black genre created by Max Bunker, for whom he creates the logos of the titles and also designs some episodes, as well as making hundreds of covers; he later worked as a draftsman and inker also for other Bunker characters like Gesebel and Alan Ford - and he will also make the first ten covers. As a curator he also deals with the layout of the many publications of the publisher and also produces his own comic book series, Thomas, a series of humorous postcards, some graphic works for magazines, encyclopedias and scientific publications. The relationship with Corno was interrupted in 1975 when he entered as artistic director at Sergio Bonelli Editore where he was asked to deal with both the technical and the more creative part concerning general graphics, lettering, covers and related titles and brands as well as the managing contacts with first-time designers. In the seventies he also collaborated with Il Giornalino.[6]
In the eighties he made an episode of the comic book series Collana Rodeo, The Lost Spaceship, the only science fiction story in the story of the series. As a graphic designer, he realizes the titles of all the Bonelli publications that began after his arrival, such as Ken Parker, Mister No, Martin Mystère, Dylan Dog, Nick Raider, Nathan Never and many others that stand out for their never before seen graphic elegance for an italian comic series.[7]
Reference
- ^ "La scomparsa di Luigi Corteggi". www.sergiobonelli.it (in Italian). Retrieved 2019-11-28.
- ^ "Luigi Corteggi: l'eleganza british del fumetto italiano | MONDO DELL'ARTE" (in Italian). Retrieved 2019-11-28.
- ^ "Luigi Corteggi". lambiek.net. Retrieved 2019-11-28.
- ^ "Luigi Corteggi: l'eleganza british del fumetto italiano | MONDO DELL'ARTE" (in Italian). Retrieved 2019-11-28.
- ^ "Luigi Corteggi un pittore prestato al fumetto". Fumetti Anime & Gadget (in Italian). 2013-06-08. Retrieved 2019-11-28.
- ^ "Luigi Corteggi: l'eleganza british del fumetto italiano | MONDO DELL'ARTE" (in Italian). Retrieved 2019-11-28.
- ^ "Luigi Corteggi: l'eleganza british del fumetto italiano | MONDO DELL'ARTE" (in Italian). Retrieved 2019-11-28.
Bibliography
- Luigi Corteggi - Un pittore prestato al fumetto - Glamour International (1994);
- Cortez - La grafica di Corteggi dalla Corno alla Bonelli. A cura di S. Mercuri - IF (2005) ISBN 9788852401367 - ISBN 8852401369.