The greatest artists, especially in the visual arts, are those that succeed in creating through their work a stylistic canon that is immediately recognizable, making them a point of reference for so many other designers. To understand the extraordinary nature of Giorgio Cavazzano, born in Venice in 1947, it would be useful to reflect on the fact that this very difficult accomplishment was achieved within a universe of rules that were already for the most part set, and at least until he came on the scene, also quite rigid: the microcosm of Disney comics. As the critic Enrico Fornaroli has well noted, Cavezzano completed «a difficult blending of the tradition of American cartooning, all played out in a simulated version of humanity in a universe of animals, with the great French-Belgian school that favored a parodic version of reality». After a long time spent producing the drawings of Romano Scarpa, who can be considered his teacher, from the end of the 1960’s Cavazzano began to turn out his own designs for the texts of some of the best Italian writers. This included a great many number of episodes starring the Disney characters. Entering the world of his later influences were fundamental graphic artists of comics such as Moebius and Sergio Toppi, but especially the explosiveness and the kinetic force of the graphic creator of Asterix, the formidable Albert Uderzo. Cavazzano has been able to make himself an almost indispensable model for all those who have followed him in choosing to compete with Disney characters, and in particular with ducks.