Luca Giorgi is an Italian comic artist who first came to the attention of the broader Phantom community as the cover colourist of Frew #1800, that memorable 2017 Christmas-themed cover by Massimo Gamberi.
Luca has since worked closely with Massimo on Phantom projects on several occasions, including colouring the cover of the well known Fumetto #106 [right] as well as Fumo di China #280. Luca also coloured Massimo's carton card from the 2019 The Phantom Gallery: Series 2 trading cards, among several other cards in that set.
We have also seen Luca's work as an inker of stories, collaborating again with Massimo on Planetman (Frew Giantsize #5) and Legacy of the Reef (Frew #1820).
His most recent Frew cover work was for the War-themed 2019 Annual cover by Wendell Cavalcanti (Frew #1830).
In this ChronicleChamber exclusive interview, we are lucky enough to hear directly from Luca about his history, his process, and his association with The Phantom.
Chronicle Chamber: When and where were you born?
Luca Giorgi: I was born in Rimini, in the north east of italy, in 1986. It’s a city by the Adriatic sea and it was founded by the Romans. I've always lived in this city.
CC: May I assume that drawing preceded inking and colouring? How old were you when you first developed an interest in art and what influenced you to draw?
LG: My passion for art started when I was a child. I used to draw cartoons and the comics characters that my dad bought me. At the age of 15 I took part in the first comics course, then I attended art school and in the end, I graduated from the University of Urbino.
CC: Who encouraged your interest in drawing? Who now encourages your interest in inking and colouring?
LG: My great-grandmother wanted me to always draw. Furthermore, the good teachers who I met in my first course at 15 years old encouraged me.
CC: Do you have any formal art training / art school / design course? If, so, what?
LG: Yes, I have my degree. My first course in Rimini gave me the basics of the comic, then I took a specialised coloring course in Jesi when I was 23. These are the two most important courses of my education.
CC: What motivated you to move to inking and colouring? Do you see yourself primarily as an inker or primarily as a colourist?
LG: At the beginning, I only studied the black and white comics. I found my first job like as inker on Facebook when an artist asked me to ink one of his comics for the French market. Then, I attended a coloring course and in the end, I began to have the first collaborations.
CC: Has any artist influenced your style? Who? How?
LG: A lot of artists inspired me like Wally Wood, Jack Davies. In the Disney world, I admire Giorgio Cavazzano, Sandro Zemolin, Romano Scarpa and Massimo de Vita.
CC: Do you ink "old school"? If so, what type of ink? Type of brush or type of pen?
LG: I like them both equally. I can ink digitally or in the traditional manner. Regarding the old school inking, I prefer to use Windsor & Newton inks, Marten Bushes and different pens with Japanese felt tips.
CC: Do you you colour digitally or "old school"? If digitally, what program do you use?
LG: I prefer to color digitally, given the fastest creating times. I mostly use Photoshop. I like to use acrylics and airbrushes but they take much time and I stopped using those.
CC: For those not familiar with Italian and European comics, what work have you had published and in what comics or magazines?
LG: I work mostly for the Mickey Mouse’s newspaper in Italy and I colored a Nathan Never volume recently, a character of the Sergio Bonelli editor.
CC: How long does it take you to ink a Frew sized comic page?
LG: I ink a page a day, if I'm lucky two.