The Great Restoration

How the Asterix Albums Were Digitally Remastered for a New Generation

Since their debut in 1959, the adventures of Asterix the Gaul have been cherished across generations and languages. But even legends need a touch-up from time to time. Beginning in the early 2000s, the publishers of Asterix — in close collaboration with Albert Uderzo, the series’ legendary co-creator and illustrator — undertook an ambitious and painstaking project: to digitally restore and recolor the entire Asterix library, bringing it up to the standards of modern printing and digital publishing, while preserving the integrity of the original art.

This remastering project became one of the most comprehensive restoration efforts ever undertaken for a European comic series. Here’s how it unfolded.

Origins of the Project

By the turn of the 21st century, the original Asterix albums — especially the earliest ones from the 1960s and 1970s — were showing their age. Originally printed using analog techniques, the pages had:

Faded colors Off-register printing (where ink layers misalign) Uneven inking Low-quality paper reproduction Hand-lettering inconsistencies

With the rise of digital publishing, HD displays, and high-quality reprints, the need to modernize the original editions without distorting their artistic authenticity became clear.

The project began in earnest around 2006, spearheaded by Éditions Albert René (the publisher that owns the rights to Asterix), under the creative supervision of Albert Uderzo himself.

Objectives

The goals were ambitious but clearly defined:

Restore line art to its original crispness Recolor all pages digitally using faithful, enhanced palettes Modernize lettering without losing its original character Prepare the albums for future-proof digital formats Preserve and archive the work for cultural posterity

The Restoration Process: A Technical Overview

The remastering of each Asterix album was a multi-step, labor-intensive process carried out by a dedicated team of digital artists and technicians. Here’s a breakdown of how it was done:

1. High-Resolution Scanning of Originals

Original print pages or clean negatives were scanned at 1200 DPI or higher. When original artwork was available (rare, especially for older volumes), it was used to provide the cleanest reference possible. Pages were digitally flattened to remove warping or scanning artifacts.

2. Line Art Extraction and Cleaning

Using professional tools like Adobe Photoshop and Clip Studio Paint, technicians separated black line art from background colors using channel separation and threshold masking. Ink lines were cleaned, straightened, and, if necessary, redrawn pixel by pixel, always referencing the original.

3. Digital Recoloring

A new digital color palette was created for each album, mimicking the watercolors and flat tones used in the original editions. Colorists worked panel by panel, often manually, to avoid the sterile appearance of automated coloring. Shadows, skies, and skin tones were subtly enhanced while remaining authentic to Uderzo’s original intentions. The differences are also easy to spot in the more consistent colors of the clothes worn by both Gauls and Romans.

4. Lettering Reconstruction

Original hand-lettering was digitized and used as the basis for a custom typeface that reproduced Uderzo’s distinctive style. Special attention was paid to onomatopoeia, speech bubble shapes, and font weight, ensuring they matched the rhythm and humor of the original layouts.

5. Final Layout and Proofing

Completed pages were reviewed side-by-side with first edition prints to ensure consistency. Uderzo personally approved the final versions of all restored albums released before his death.

Under Uderzo’s Supervision

Albert Uderzo oversaw the restoration of the first 27 albums, from Asterix the Gaul (1961) through to Asterix and the Falling Sky (2005). His role was largely consultative during the later stages, but his input was considered decisive, especially for color calibration and line fidelity.

Albums restored under his supervision include:

All Goscinny-Uderzo collaborations (1961–1977) All Uderzo-solo albums (1980–2005)

These editions were published in France by Hachette and Éditions Albert René, and in other countries (such as Italy by Mondadori) using localized but technically identical files.

After Uderzo’s Death (2020)

Following Uderzo’s death in March 2020, the project continued for the remaining titles under the supervision of the new creative team led by Jean-Yves Ferri (writer until 2021) and Didier Conrad (illustrator). The production team worked with the archival notes Uderzo left behind and adhered to the visual standards he had established.

Notably, re-releases of albums like Asterix and the Picts (2013) and Asterix and the Chieftain’s Daughter (2019) were included in the remastered collection, although they were already born-digital and required far less restoration.

Reception Among Fans and Critics

Positive Reactions:

Widespread praise for the sharpness, vibrancy, and clarity of the new editions. Collectors welcomed the restoration as a way to experience the albums “as they were meant to look.” Comic artists and scholars commended the project for preserving the heritage of one of Europe’s most iconic comic series.

Some Criticism:

A minority of fans felt that some of the digital recoloring appeared “too clean” or slightly sterilized compared to the grainy charm of vintage prints. Purists occasionally questioned the re-lettering, though most acknowledged it was well done.

Overall, however, the reception was overwhelmingly positive, and the restored editions have become the default versions used for print, digital, and translations worldwide.

Is the Project Complete?

As of mid-2025, the restoration project is effectively complete. All canonical albums — from Asterix the Gaul to the most recent release — have been restored or updated to match the remastered standard.

Deluxe Editions and Line Drawings

The digitization project also led to the release of deluxe editions of the Asterix albums. These editions featured high-quality reproductions of the original line drawings, offering fans a glimpse into the artistic process behind the comics. These Deluxe Editions included both full-color and black-and-white versions of the artwork, along with behind-the-scenes material. Not all albums have been released as Deluxe albums yet. Usually about one or two are released each year.

Digital editions on platforms like ComiXology and Apple Books are based on the remastered files. No further major restoration is planned unless new source materials are discovered or technology advances further.

Legacy of the Project

The Asterix restoration initiative stands as a model for how classic comic works can be preserved for new audiences without sacrificing their essence. It reflects a deep respect for artistic heritage, and thanks to it, Uderzo’s and Goscinny’s work remains accessible, vibrant, and alive — in libraries, bookstores, and screens around the world.

In the words of Albert Uderzo himself:

“This is not about making it new — it’s about making it last.”